The Big Book of Watercolor Painting

THE BIG BOOK OF

WATERCOJ0R By Jose M. Par ramon

$ 24.95

THE BIG BOOK OF

WATERCOLOR By

M. Parramon

Jose

A

watercolor painting must be a

in

the

prima

—

fast, spontaneous. The understand the medium itself:

moment,

secret

to

is

watery, translucent texture,

its

la

rhythms,

fluid

gem-like colors which

vivid,

its

render such

its

irresistible results.

extraordinary exploration of the

In this

technique

of

watercolor painting, a world

renowned artist, teacher, and author of 27 books shares a wealth of practical and creative knowledge with the beginning or more professional painter. From his survey of the masters old and new to the actual application of the craft, Jose M. Parramon shows the reader not simply how to mix color, choose brushes, understand paper surfaces, select a palette, furnish the studio, but also how to compose,

—

—

evaluate tone, execute perspective, trans-

and interpret a theme. Parramon's "active pictures" are carefully selected to complement the text and exlate lighting effects,

pand the

reader's understanding.

He dem-

onstrates the techniques of wet-on-wet painting, drybrush,

sponge

texturing, su-

perimposition of translucent shapes and

use of the paper as white, and an examination of style. He experiments with ranges of color warm, cold, and broken as he enjoins you, the reader, to "do it," to really follow his procedures and practice the demonstrations so perfectly worked out in this book. colors,

—

—

The author includes step-by-step pracdemonstrations that trace the painting process in watercolor for seven classical themes: rustic landscape, landscape with a house, cityscape, seascape, harbor scene, still life, animals, the human figure. Teaching, communicating with the reader/student is clearly a labor of love for Jose M. Parramon. His presence, patience, knowledge, and enthusiasm are felt throughout The Big Book of Watercolor Painting as he strives to "create in the reader the idea that the artist is beside

tice

him, painting with him, explaining

son how

to

do

it."

in

per-

Wonderfully detailed,

The Big Book of Watera joy to look at, an unending source of information, and an

lavishly illustrated,

color Painting

is

inspiration to paint.

192 pages. 9 x 12 (23 x 30.5 cm). 382 color plates. Glossary.

WATSON-GUPTILL PUBLICATIONS

THE BIG BOOK

OF WATERCOLOR PAINTING

THE

BIG BOOK

OF WATERCOLOR PAINTING The

history, the studio, the materials

the techniques, the subjects, the theory

and the practice of watercolor painting

by

JOSE M. PARRAMON

WATSON GUPTILL PUBLICATIONS / NEW YORK -

Copyright

(£

1985 by Jose

Published 1985 Barcelona First

in

M. Parramon

Vilasalo

Spain by Parramon Kdiciones, S.A.,

published 1985 in the United States by WatsonPublications, a division of Billboard

( iiiplill

Publications, Inc., 1515 Broadway,

New York, N.Y.

10036.

library of Congress Catalog ISBN 0-8230-0496-1 Printed in Spain by Cayfosa, Sta. Perpetua de Barcelona (Kspaha). Register

Number 84-40386

Mogoda

Book Number: 785

legal Deposit: B-32171-87

No part of this publication may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, taping or information storage and retrieval systems without written permission of All rights reserved.

—

—

the publishers.

Manufactured

in

Spain

3 4 5 6 7 8 9/89 88 87

1

Contents Introduction, 9

History of watercolor painting,

1

The

painter's studio, 49

The

studio for painting in watercolor, 50

Lighting the professional studio, 51

Furniture and tools, 52

Running

water, wall unit, armchair, 54

Materials and tools, 55

The

easel,

56

Paper for watercolor painting, 58 Stretching the paper, 61

Watercolor colors, 62 Watercolor color chart, 64 Watercolors commonly used, 66

Tempera colors (gouache), 67 The palette box, 68 Jose M. a Parramon. Villar del Saz (Cuenca). Private Col-

Moisteners, masking

lection.

Water, 71

fluid, fixatives,

and more, 70

Brushes for watercolor painting, 72 Brushes: their use and care, 74 Other materials, 75 Drawing: the foundation of watercolor, 77

Cube, cylinder, sphere, 78 Fit,

dimension, proportions, 80

Light and shade: tonal values, 82

Doing a quick

A

sketch, 83

special exercise, 84

The

right perspective, 86

Aerial perspective, atmosphere, contrast, 91 Plato's rule, 92

Vitruvius' golden section, 93

Compositional schemes, 94 The third dimension, 95

Composition

in practice,

Wash: warm-up Characteristics

96

for watercolor,

and

97

similarities,

98

First practical exercises, 99

Techniques of watercolor, 103 Painting with two colors, 108 Examples in wash, 112 Theory and practice in color, 113 Primary, secondary and tertiary colors, 114

Complementary

The

colors, 115

color of forms; the color of shadows, 116

Colorists

and value

Harmony, 118

painters, 117

To Maria, my wife

Color mixing in watercolor, 119

Three basic

Warm

colors, 120

colors, 121

Cold colors, 124 Broken colors, 126 1

"Special' colors, 127

Painting a watercolor with three colors, 128

Technique and

skills,

131

Dry watercolors, wet watercolors, 132

Wet

watercolors, 133

Synthesis, 134

Synthesis and interpretation, 136

Thumbnail sketches, 138 Watercolor painting in practice, 141

The human

figure, 142

Painting skies and clouds, 148 Painting trees, 152 Painting a landscape in watercolors, 154 Painting a sea port in watercolors, 160 Painting a seascape in watercolors, 164

Painting an illustration in watercolors, 170 Painting a Jose M. a Parramon. A snowy landscape Private Collection.

snowy landscape

Glossary, 188

in watercolors, 177

J.

M a Parramon. Port of Genoa.

Private Collection.

— introduction Painting as a hobby, only a hobby...? It sounds fine. But there are hobbies that

never take off, they never quite crystalize, because they are not taken seriously. Can you imagine someone who plays the piano for a hobby but only sits down to prac-

able x and give

my

opinion of different

brushes, colors, papers, etc. I have dedicated an important part of this book to explain-

tings

ing, by means of pictures and practical examples, the habits and techniques of professional artists, from the different systems for absorbing and reducing colors, to the different procedures for "opening up" white spaces before or after painting, wet or dry. I have painted wet in wet, and I have brought color theories into practical use by proposing a series of practical exercises beginning with painting with only three colors, which tests and proves that all of the colors found in Nature may be made with only the three primary col-

last

ors.

tice

once a month?

the piano: one must play it often. It has its technique, its mechanics, its skills. Likewise, one must paint often, Painting

is

like

even more so in watercolors. a process, as you well know, which requires assiduous practice; the more one It is

paints, the better.

Van Gogh, who was an

worker— close

indefatigable

to 850 pain-

and more than 1000 drawings in the year of his life!— was pleased to quote a remark on watercolors made by the Impressionist, Whistler: "Yes, I painted it in two hours, but I worked for years in order to be able to do it in two hours." Painting in watercolors

an

is

amateurs with the to work:

art for

acity

most will

certainly

and cap-

An art which must be learned and practiced In this book,

I

have

tried to bring together

the knowledge necessary to learn to paint in watercolors. ten,

first,

so that

I

have researched and writ-

about the history of watercolors,

you may know when, who, why,

and how the first watercolor painters painted, and along the way I discovered, some early figures— such as the Academy of Dr. Monro, in London—which filled me with surprise. I have brought together all manner of information and pictures, by and about everybody, in order to inform you with regard to furniture, materials, and tools for watercolor painting;

on the

different types

and

I

comment

qualities avail-

have applied to painting in watercolors, of the laws, rules, experiences, and findings which I know after many years of teaching art, in the areas of drawing, color, mixing, colors, composition, interpretation, and blending. And finally, I have carried out a series of demonstrations some with the cooperation of my friends, leading names in Spanish watercolor painting—in which I explain step by step and in a practical manner the lessons contained I

all

in this book. It is

a

book

instructive illustrations—450 in is

a

book

exercises

and all—and it

illustrated with active

to take part in, with practical

you can carry out

ing, perspective,

in color mix-

composition, and other

technical lessons.

Ah, but we must play our whole hand! I have done all I can and all I know how to do. Now it is your turn. It's not enough to say that you haven't the time or that you don't feel inspired. "Waiting for inspiration is a vain act," said Balzac, "one must begin, take up the material and get one's hands dirty."

introduction Beginning to paint,

like

any

intellectual

process, always requires effort, off with

"we

try to

type of excuses, the pencil is dull, the palette is dirty..." Yes, but it is also almost always true that, no put

it

all

sooner do we start than we feel an unobtainable passion to continue to work.

When

passion is cultivated, it becomes a habit: the habit of working. this

Van Gogh acquired

this habit of working from the first day, with all the passion which is reflected in his paintings:

"From

the time

I

bought

my

first col-

and painting tools, I have been coming and going, painting all day and finishing exhausted. I haven't been able to contain myself, I haven't been able to hold myself back nor stop workors

ing."

I

this book will help you to begin to passion for painting in watercolors.

hope

feel a

Jose M. Parramon.

10

Fedenco

Lloveras.

Embarca-

dero Private Collection.

.

t

of watercolor painting

f<*ti

'The least essay written by a painter will advance the theory of the art better

than a million volumes." Sir

Joshua Reynolds (1723-1792)

HISTORY OF WATERCOLOR PAINTING

origins Man

Fig 6-Opening of the Mouth, Hunefer mummy from the book of the dead of the same per-

has been writing and illustrating books

for 3,500 years.

was originally on the banks of the Nile in Egypt that a fibrous plant named cyperus papyrus was discovered whose bark, cut into strips, could be rolled into a scroll. These rolls of papyrus were used to write and illustrate scrolls dealing with science, history, magic, and religion. Another important use was that of burying the scrolls with the dead as an aid in their journey to the other world. The writings were

son, papyrus from the

It

to help them explain their deeds to Osiris, judge of the dead. The images in these scrolls, known since then as miniatures, were painted with transparent colors. The pigments used for ochres and siennas came from the earth; red came from minerals such as cinnabar; azurite was used to obtain blue; malachite for green; cropiment for yellow, and rexalgar for orange. Black was made from burnt willow wood; chalk produced white. These pigments were blended with gum arabic and egg white and were applied diluted in water. In short,

century

B.C., British

13th

Museum,

London.

7-(Below) Adam and Eve, page from a Bible manuscript by Alcuin or Moutier Grandval, from the Carolingian period. 834-43 A.D., watercolor on Fig.

E'<£"CHHt

parchment, London.

Museum.

British

*&
they were watercolors. One thousand years later, around 170 BC, parchment was used for the first time by Eumenes II, king of Pergamum. This new writing surface was obtained from sheep or goat skin treated with lime and sheared and softened with a pumice stone. These parchment sheets were joined into small notebooks known as codices which were in turn joined to form a book called a codex. Parchment has been used ever since to make manuscripts. Until the 9th century most miniatures, whether in Greece, Rome, Syria, or Byzantium, were painted from a mixture of watercolor and lead white, producing an opaque watercolor. The 9th century marked the beginning of the reign of Charlemagne, emperor of the Carolingians.

Charlemagne placed great importance on the creation of manuscripts; he found great artists

who

alternated in the use of both

opaque and

transparent watercolors. This mixture was used

during the late Middle Ages and even reached the Renaissance when the use of watercolors in miniature paintings became common. These are in effect, the origins of watercolor painting.

8-(Above) Francesco PeAllegory of Rome. on gouache miniature. Fig.

sellino.

parchment; borders of the frame painted in watercolor. From the manuscript De Secundo Bello Punico Poema. 1447-55, Hermitage Museum, Leningrad.

Fig.

9- (Right) Page from

the

manuscript on the Poems of Charles d'Orleans (imprisoned in the Tower of London around 1

500). watercolor and

on parchment,

London 12

British

gouache

Museum,


durer: the

first

"watercolorisf

Albrecht Durer from Nuremberg, who was described as "ardent and austere" by the paint-

was the greatest German painter and engraver of the 16th century. During his lifetime (1471-1528) he wrote three books, executed over 1000 drawings, almost 250 woodcuts, 100 copper engravings, and painted a grand total of 188 canvases, of which 86 were er Cornelius,

first known painting is a watercolor landscape which he painted at the

watercolors. Durer's

age of eighteen. All this is quite amazing. Very few people know that Durer alternated between oil and watercolor painting. Although his oil paintings, such as Adam and Eve and Self-Portrait with Gloves, both in the Prado in Madrid, are well known, few people are aware that he did watercolor paintings as good as the landscape shown here. Why is it that watercolors are not considered on a level with oil paintings? As we will learn later on, the use of watercolor for its own sake did not gain recognition until the latter part of the 18th century. During Durer's time watercolors were said to

Fig. 10- Albrecht Durer. Wing of a Small Blue Bird, watercolor on parchment, Albertina. Vienna.

Fig. 11— Albrecht Durer, View of Kalchreuth. watercolor on

paper, previously Kunsthalle.

in

10

Bremen, 11

13


durer: the

12-Albrecht Durer.

Fig

Portrait with Gloves,

The Prado, Madrid-

first

"watercolorist"

Self-

(detail).

In this

paint-

an inscription in German that reads: "I have painted this portrait according ing there

to

my

is

features at the age of

twenty-six." This self-portrait

was

in oils

year

painted the

same

498) that Durer did the series of engravings of the Apocalypse that brought him international fame. Durer is said to have wanted to emphasize his mastery and merit as an artist and man of letters in this 1

(

self-portrait.

Fig. 13-Albrecht Durer. The Large Piece of Turf, watercolor on paper, Albertina, Vienna. In contrast with the landscape on

the previous

page— loose,

care-

with a style and brush-

free,

stroke

comparable

modern

to those of a

artist— Durer offers us

here a detailed, hyper-realist

which opaque waterused with sureness. The work. 41 cm X 31 5 cm finish, in

color

(16"

is

X

12.5"),

was

painted

from nature, as was customary with Durer who, according to his

biographers,

felt

a

true

passion for animals and nature

serve a documentary function. They were the first draft of a future oil painting. This underestimation of watercolor was still evident in the early part of the 20th century. During the 1930s the Tietze brothers, who wrote the most com-

plete catalog of Durer' s work, did not

14

add

a

separate chapter for his watercolors, but instead

meshed them with

authors

who have

the sketches. Other

written about Durer, such

Lippman, Winkler, and Panofsky, have followed their classification. Albrecht Durer was undoubtedly one of the

as


,

14

14-Albrecht Durer. The

forerunners of watercolor. His example, however, was not followed by artists after him.

Hare, watercolor on paper, Al-

For close to 300 years watercolor remained a

of his

step in the process of oil painting.

painted various animals: horses,

Fig.

Vienna In the course life as an artist, Durer

bertina,

lions,

a crab, a parrot, squir-

and even a sea always with the preciousness of this hare, always in rels,

a lobster,

lion,

watercolor, although, as with

this model, he sometimes used opaque watercolors to outline,

flected

example, light fur on a dark background Durer always painted from nature; critics and students assure us that this hare was caught alive and shut

smooth

the

model as

room where the artist paint To prove this assertion ed

that

he consulted as

for

in

a

that

ed

in

fioni

the animal's eye .hh1

shadow

its

flooi i

If

so.

falls

on

a

Durer painl

latum, with the

model

From el him, bul he also painted from memory, using in

a

live

reference it

moved

it.

they say that a

window

is

re-

15


watercolor as an

aid:

16th and 17th centuries

Durer was an exception. Fifty years before him, Jacobo Bellini had painted some watercolors as preliminary sketches, which served as inspiration for the paintings and murals of his sons, Gentile and Giovanni, and his son-inlaw Mantegna. Bellini, however, never really painted with watercolor. Watercolor for its own sake disappeared after Durer. However, it was frequently used as an aid for oil painting. This technique is most common among the Flemish artists, specifically Rubens. Peter Paul Rubens painted close to 1000 paintings (to be exact, Bodart's catalog names 993).

A

great part of his

work consisted of

large

paintings used to decorate churches and pal-

famous cycle of 24 paintings on the life of Marie de Medici, now in the Louvre, is made up of panels that measure 3.94 x 2.95m. Its central work, Henry IV, measures 3.94 X 7.27m. Rubens organized his workshop in a way that facilitated the creation of many paintings of large proportions. His young assitants, such as van Dyck, Jordaens, and Snyders, later achieved independent recognition. Rubens would first draw a preliminary sketch and then aces. His

paint a watercolor.

From

this watercolor draft

he painted a scaled-down preliminary work. Then his assistants were given all the sketches and they painted the original almost to completion, leaving

Rubens the job of applying the

final touches.

When Anthony van Dyck left Rubens's workshop, he traveled to England. He painted some watercolor landscapes which he would later

use as backdrops to his oil portraits. Jacob Jordaens used watercolors as a young man in cartoons for tapestries. He stayed with Rubens until the latter's death. Jordaens tried to follow in his master's footsteps by continuing Rubens's technique of using small watercolor sketches.

This use of watercolor is seen throughout Europe during the 16th and 17th centuries. The only exception is Holland where van Avercamp, van Everdingen and the van Ostade brothers, among others, painted watercolor sketches and first drafts which they would sell to craftsmen and to the petit bourgeoisie of

Amsterdam.

Figs. 15. 16.

17- (Above) Ru-

bens. The Stoning of St Step-

r'"

hen, watercolor sketch. Her-

Jb

mitage Museum. Leningrad. (Right, fig. 16.) Sketch in oil. Royal Palace. Brussels. (Right, 17.) Final rendering of

fig.

The Stoning of

Museum

St.

Stephen.

3!

***§

of Fine Arts. Valen-

ciennes.

R<4

16

16


• '

^

Fig. 18- Anthony van Dyck. Landscape at Birmingham

Port.

Arts,

Barbierov Institute of Fine Moscow. It is believed

that during his

second stay

England, from 1632

until

in

his

in 1 641 van Dyck painted several landscapes in wa-

death

,

tercolor that served as studies

and models for oil painting and as backgrounds for some of his portraits.

18

Fig.

19— Adnaen van Ostade, Museum,

Peasants. Hermitage

Leningrad.

when 19

In the 17th century, watercolor painting was

an aid to oil painting, some Dutch artists painted small watercolors on popular themes, which were sold to craftsmen

and the

petit

Amsterdam

bourgeoisie of

20— Jacob Jordaens, The Arriba/, British Museum, London. When Rubens died. Jordaens tried to continue his master's work and he even finished the uncompleted paintings that Spain had commisFig.

sioned Rubens to do.

He

tercolor sketches prior to pleting his

works

com-

in oil.

later

followed Rubens's work meth-

ods very

closely, studying

wa17


monochromatic watercolor According to Cennino Cennini, an Italian artist and educator, during the Renaissance and after, in the 16th and 17th centuries, all artists used watercolor. with only one color. In his book Libro dell 'Arte (1390) he says: "After accentuating the design you will give shading to the shapes by using ink washes. It is necessary to use the amount of water that fits in a nutshell with two ink drops. The shading must be done with a brush made of hair from a sable's tail. When the washes must be darker the same technique should be applied but more ink drops should be used." .

.

Cennini's book merely explains artistic procedures that were already in use during the 14th century. Thus, from Giotto to the mid- 18th century, 400 years later, when watercolor paint began to be used for finished works, artists in

general painted according to Cennini's for-

mula.

For example: Raphael's frescoes in the Stanza della Signatura. Raphael was commissioned by Pope Julius II between 1509 and 1511 to paint some murals for the Pope's new rooms in

the Vatican palace. Different

now house

museums

the preliminary sketches and stu-

and parts of the body in foreshortened perspectives, as well as the final cartoon, a monochrome watercolor painted with two sepia colors, (fig. 20, mural project The School of Athens from the Stanza della Signatura). This work method was followed by Raphael, Leonardo, and Michelangelo whenever they had to paint an important mural or dies of figures

painting.

Monochromatic watercolor was also the medium used when sketching outdoors. On these occasions the paper used was gray or was painted previously with a yellow or ochre background. This was then painted with sepia and water according to Cennini's formula.

These sketches were only used an aid when doing an

oil

as notes

and as

painting.

Fig.

21 -Raphael. The School

of Athens, project painted in watercolor Ambrosiana. Milan Fig

22-Raphael, The School

of Athens, fresco in the Stanza Vatican. della Segnatura.

Rome Observe the differences between the final painting and the project painted in wash in shades of sepia Several

figures

were added

final picture,

18

for the

but the projection

shows the exact character

of

the figures, their form, expression, position, light and shadow, etc. enabling Raphael's

assistants to

when

work more

easily

doing the actual fresco.


24

23— Salvator Rosa, Study of Trees, wash. Hermitage Mu Fig.

seum, Leningrad. The dexterity, sureness, and skill with which this

study of trees

of a quality

was done

comparable

to the

resolution of a professional

23

tercolor artist of today.

is

wa-

Fig.

24-Guercino, Landscape

with a

Volcano,

British

Mu-

seum, London. This is an example of the use of sepia wash on gray paper In this wash we can see the artist's skill and

knowledge the

way

in

of the

medium

the model's position and the effects of light

He even adds

a

and shadow few figures to

help the viewer underst.ii

tances and proportions, just a

id dis

all

with

few brushstrokes.

in

which he indicates

19


wash: forerunner of watercolor In the historical evolution of watercolor

we

must also mention Rembrandt. For although Rembrandt never painted watercolors, he made hundreds of sketches in brown bistre or sepia wash (this last made from the "ink" of the cuttlefish) with such skill and practice he was able to successfully reflect volume, shadow, darkness and such color: These sketches were Rembrandt's color notes. While Rembrandt worked in Amsterdam, Claude Lorraine was busy painting landscapes in Rome. His landscapes were of enormous proportions and were commissioned by clergymen and kings such as Urban VIII and Philip IV of Spain. Constable, the well-known British landscape artist, said the following in one communication to the Royal Academy of London: "It has been said that Lorraine is the best landscape artist in the world and this is well deserved praise. His main attribute is the mix.

.

.

ture of splendor with quietude, color with fresh-

ness,

make

shadow and

Lorraine would wash sketch of his

light."

a preliminary

first

idea

and would then go to the countryside and would continue the process out of doors. He used two or three colors in the same range: sienna, sepia, umber. His landscapes in oils, which often measured up to 2.5 x 2 m, would require at least eight

some

wash drawings

as well as

pencil or charcoal sketches before

pletion.

It

tok

him two months

to

com-

complete a

painting.

The same can be

said of Frenchman Nicolas Poussin who, together with Claude Lorraine, is considered an innovator of the English landscape school. These two artists were undoubtedly a great influence on the group of English artists who used watercolor from the 18th century on. Nicolas Poussin alternated religious or mythological figure paintings with landscapes in which mythological figures also appeared. Poussin worked, as did Lorraine, from a series of preliminary wash sketches drawn from nature. In some of his sketches made with just two colors and occasionally black, the richness of tones and range of light are so marvelous that they seem to be actual

Like

many

17th century artists, Rembrandt,

Lorraine, and Poussin did not yet use watercol-

However, they gave wash, which was a procedure which required techniques similar or.

own

something more than just an aid in oil painting. At this point all that was needed was one factor that would give watercolor the necessary push. This happened with the "Grand Tour." to those of watercolor,

color notes.

its

place as

Fig.

dam As

this

Figure

sketch shows.

Rembrandt's mastery

was

incredible

of

wash

This mastery

derives from an absolute sure-

ness ing.

20

25- Rembrandt.

Study. Rijksmuseum, Amster-

in

constructing and draw-


*

26— Claude

Fig.

Landscape with the Tiber from

Rome,

British

Lorraine,

River,

View of

Monte Mario. Museum, Lon-

dorv.

Fig.

27-Nicolas Poussin, The

Mol/er Bridge Near Rome, bertina

U

Museum.

Al-

Vienna.

27

21


the 18th century: the english discover The English "discovered" Rome toward

rome

the

middle of the 18th century. At this time King George II was adamantly trying to transform England from an agricultural country into an industrial and commercial nation. Small cottage industries were being replaced by factories, and commerce was looking to broaden its horizons overseas and in the colonies. Hundreds of businessmen, industrialists, intellec-

and aristocrats traveled frequently between England and the Continent. Traveling was fashionable. It was the century of the "Grand Tour." The popular itinerary was France, Switzerland and Italy, with Rome as the final destination. Once there, it was a must to visit the Colosseum, the Arch of Titus, the public baths of Caracalla. Ruins were also in fashion. It was the century of the Grand Tour and the period tuals, artists,

of Neoclassical Art.

Touring and the "discovery" of Rome had a great influence on English taste in art. The first

black and sepia which portrayed landscapes,

stop in Paris led the English tourists to the

ses,

Louvre where they could admire the great paintings of Poussin and Lorraine. These two pioneers of the Neoclassical style painted classical figures and ruins into their wonderful romantic landscapes. During their stay in Switzerland, the English were able to cross the Alps and live in close contact with "Nature," the subject of an almost religious cult at the time. Finally, they would reach Italy and admire the classic beauty of ancient Rome. Every experience and sensation made the tourists want to return to London with a pictorial souvenir of their trip to the "Eternal City." These pictorial souvenirs were etchings printed in black or sepia. They could already be

bought

Rome and

Venice in the early 18th century. By 1703 Lucas Carlevari had already published 103 of his engraved views ofVenice. Giovanni Antonio Canaletto, famous for his vedutas (views) ofVenice and Rome, signed a contract in 1730 with Joseph Smith, later the British consul, for the sale and distribution of in

cityscapes,

monuments,

flowers,

still lifes,

hor-

and dogs, among other things. These drawings, made by artists called "topographers," served as decoration for the walls of

homes. It occurred to someone, inspired by Italian vedutas, that the etchings would be enhanced if they were colored with private

color

became more and more important

finally the

Paul Sandby,

known

J

and and delineate forms with color and tone, illuminated

began

drawings"

to paint

instead of line

the transformation of drawings into paintings.

Although Paul Sandby did not travel to Italy, he followed the "Grand Tour" phenomenon closely. He sketched and etched many ruins which he would then illuminate with watercolor. His desire to make each watercolor a unique work of art rather than a means to an end allowed him to study and experiment with different formulas.

English were printing a large number of illustrations from copper etchings or engravings in

His technique and style was to greatly influence other English watercolor landscape paint-

22

was

as the "father of English

this time, also, the

By

It

with the English tradition of

watercolor," was one of the artists involved in

Wood, Windsor Park, of Windsor Castle where Thomas was keeper. Sandby was twenty-seven in 1752 when he started painting these forests.

others.

Mrs

England R Cozens who broke

drawings appeared to be painted

often directly from nature, of the Great Royal

among

the Gulf of Salerno

rather than etched.

who began

Cozens,

m

Cecil Keith Collection,

until

The production of vedutas was constantly being expanded upon by the many European artists to do this type of work. These include the Italians Ricci, Panini, and Guardi, and the English Pars, Grimm, Rooker, and

28-John Robert Cozens.

Cetara. a Fishermen's Village

transparent watercolors. Shortly thereafter the

Paul Sandby and his brother Thomas — also a watercolor painter and topographical draughtsman for the government — were founding members of the Royal Academy of London. Paul also painted pictures in watercolor and gouache of urban and rural landscapes. Outstanding among the latter were his renderings,

over 140 etchings in Britain. In 1745 Piranesi published 135 vedutas of ancient Rome. Thousands of copies of these were printed.

Fig

Fig. 29- Francis Cotes, Ponrait of Paul Sandby. Tate Gallery,

London.


30

William Pars, Francis Towne, Thomas Rowlandson, Francis Wheatley, and the especially noteworthy John Robert Cozens. William Pars traveled to Greece when he was twenty-two as the artist for an archeological dig. He became well known for his drawings of the dig. Some years later he went to Rome, where he lived until his death in 1872. His companions in Rome included Cozens, Jones, and his close friend Towne. William Pars quickly embraced the idea of painting without ers including

made

with a pen or pencil. His watercolors of old buildings are truly wonderful works of art. Francis Towne, on the other hand, used sharp the sharp outlines

contours and more daring colors to illuminate

30-Paul Sandby. Road

Fig.

through Windsor Forest. Victoria and Albert Museum, London. Called the "Father of English

watercolor," Paul

Sandby

started out as a topographical

draftsman of landscapes with ruins

and

classical buildings.

He developed techniques for watercolor painting which matured while painting

in

the for-

est of Windsor. His concepts

were followed

for thirty or forty

years by English

artists

who

painted watercolor landscapes.

known

his figures.

Rowlandson was

caricaturist,

and his personality was apparent and landscapes. Wheatley intro-

a well

in his portraits

duced a palette of bright colors with reds, blues, and yellows in his rural landscapes with figures.

John Robert Cozens learned his trade from his father. He was described by Constable as "a brilliant landscape artist, all poetry." Cozens used a limited palette of greens, blues, siennas, and grays but the composition of each painting was studied to such a degree that each of his pictures was really like a poem. He profoundly influenced the Romantic Period in England and the artists of the next generation such as Girtin and Turner.

23 i


the english national art In the spring of 1804 the

color

artists,

first society of waterthe Old Water-Colour Society,

was founded. One year time

in the world,

paintings

later, also for

the

first

an exposition of watercolor

was held.

In England, of course.

members of the Royal Acadof London, which was already thirty years old, had very discriminatory policies toward watercolor artists. Watercolors were Until then, the

emy

show if the artist also had Furthermore, the watercolors

only allowed into a oil paintings.

were always off to the side, with the most visible and best-lit areas of the salon being reserved for oil paintings. This lack of importance given to their work angered the artists into founding a separate society and organizing their

own showing

at a different salon

—

which succeeded in attracting the public and buying customers. By the late 18th century the merit and value of

medium

watercolor as a

nized, and was used as

in itself

was recog-

means of expression by

such renowned artists as Hogarth, Reynolds, and Gainsborough. Artists

were no longer limited

to landscapes;

now went indoors to paint figures and still life scenes. In this new area both William Blake

they

and John Henry Fuseli showed extraordinary talent and imaginative power. Fuseli's paintings are characterized by the exaggerated drawing of the movements and gestures of the figures. William Blake wrote poems which he would then illustrate with watercolors and publish. Among his best-known works are the the Book of Job, Dante's poems, and his critique of the Age of Reason. By this time, thousands of amateurs were painting watercolors in England. It was already the "English National Art," as it was to be named years later by the journalist Ed-

watercolors

mond About

illustrating

in his reports

on the Interna-

tional Exhibition in Paris.

Fig.

31 -William Blake.

moniac Pope. Tate London. Blake was an

77?eS/'-

Gallery.

inspired

and ingenious artist, poet, painter, and engraver, who once wrote and illustrated his own poems on the Bible, Milton, Shakespeare, and Dante, interpreting the texts of these works and authors and demonstrating extraordinary ability

imagination.

24

and

Fig.

32-John Henry Fuseli, in a Dream Sees

Knemhild

Siegfried Dead, Kunsthaus. Zu-

was an intellectual Swiss origin who settled in England and worked as a free-

rich. Fuseli

of

lance translator and

illustrator.

Reynolds encouraged him to paint, and he won fame with paintings

and watercolors

dis-

tinguished by the originality of their

themes.


dr.

on Adelphi Terrace overlooking the Thames played an important role in the history of watercolor in England.

turner

and kept all the paintings in his possession. few days after the school opened, Turner, Girtin, Cotman, Cox and de Wint were busy at work. These young men later became the

Dr. Monro's residence

A

Dr. Monro's hobby was painting watercolors, and when he was not busy with his career in medicine he collected paintings. He was friendly with many young watercolor artists and would try to help them out by finding buyers

buying them himself. His works by Rembrandt, Canaletto, and Lorraine, watercolors by Sandby, and paintings and sketches by Cozens and others. In 1794 he decided to open a school for watercolor artists in his own home. He bought chairs, tables, paints, brushes, and paper, and as word of his intentions quickly spread, several young artists went to him. Dr. Monro told them: "I'll pay you half a crown and give you supper for coming here every night to paint. You will learn by copying some travel notes drawn by Cozens." Dr. Monro promoted the study of Cozens's creative style and technique

monro and

greatest English watercolor artists of the 18th

and 19th centuries. The most able and famous of all was Joseph Mallord William Turner, followed by Thomas Girtin. According to Murray, their biographer, when they were both nineteen they went to Dr. Monro's house, where Girtin drew and Turner painted.

for their paintings or

collection included

Turner's

skill

as a watercolor artist started

At nine he was coloring prints for a beer merchant; when he was thirteen he apearly on.

33,

Fig

34- Joseph

Mallord

William Turner, The Burning of

Houses of Parliament, on

the

the Night of October British

(Below) lery,

Museum, Seif- Portrait.

London. Turner

1 6.

1834,

London. Tate Galis,

with

out a doubt, the best and mobt

famous watercolor artist of England

prenticed with Thomas Malton, a topographer who taught him about perspective. The Royal Academy accepted one of his watercolors when

he was fifteen and six years later they exhibited one of his paintings. At the young age of twenty-four he was accepted as a member of the Royal Academy, something that had never happened before to such a young artist. 25


turner

and

girtin

35, 36- (Above) Turner. Venice: The Grand Canal with

Fig.

San Simeone Piccolo

at Sun-

(Below) Turner, Venice, St George the Elder from the Cus-

set,

toms House.

British

Museum,

London. These are two of the watercolors done by Turner on his last trip to Venice, consid-

ered the most creative paintings of

all

his

work because of their and color

effects of light

35

fc

36

mj

M-#.

Thomas

Girtin died

when he was

"fei

twenty-

said: "If

Tom

had

lived

I

would have died of

seven years old. Together with Turner he was one of the best watercolor artists of the late

After his experience at Monro's school in

18th century. Girtin exercised considerable

Turner began

influence over Turner

and use of

color.

who

When

imitated his style

Girtin died. Turner

hunger."

medium

1

797,

to paint in oils, alternating this

with watercolor, which

abandoned. He traveled

he never

to Italv four times

26

A


Fig.

37— Turner, Scene on the with Barges and a

Thames

Canoe, British Museum, London Turner was thirty-three years old when he painted this watercolor on the banks of the Thames In he shows us his it,

as a draughtsman and painter, as well as his mastery

ability

over watercolor, either wet or dry. The watercolors of Venice

on the previous page were painted thirteen years

later.

38— Thomas Girtin, KirksAbbey in Yorkshire. British Museum, London. Born the same year as Turner (1775), Fig.

tall

and

classmate

a

Monro Academy.

of his at Girtin

the

was

a

reference and indispensable

model

for

Turner and

many

other artists of the 18th century,

consulted and imitated

because

of his technical

artistical merit.

was one links in

of the

Thomas

and

Girtin

most important wa-

the development of

tercolor in

England

and painted watercolors in Venice where he achieved the most creative play of light and color of his career. The French Impressionists said: "We are followers of a great master of the British school, the illustrious Turner." 27


bonington and cotman Richard Parkes Bonington was an important artist in the history of English watercolor. When he was fifteen, he emigrated with his family from Nottingham to Calais,

where he

studied with Louis Francia, a French watercol-

who had started out at Dr. Monro's school with Turner and Girtin. Bonington then traveled to Paris, where he learned oil painting from one of the great painters of or artist

French Romanticism, Antoine-Jean Gros. Another artist who frequented Gros's workshop and greatly admired him was Delacroix. Bonington and Delacroix, three years his senior, became friends; thus the Englishman

became known

to Paris Society of the time.

Jean Baptiste Camille Corot, one of the first landscape artists to paint outdoors, was struck with surprise and admiration when he saw one of Bonington's watercolor landscapes. The total range of possibilities that watercolor gave the

artist

had been unknown

to Corot.

Figs. 39.

Parkes

40- (Right)

Armand's Abbey private

(Below)

Richard

Bonington, in

collection,

St

Rouen. England

Bonington,

Venice.

The Doges' Palace. Wallace Collection. London It is enough just to see these two watercolors to confirm the idea that

Bonington was an exceptional Observe, first of all. the composition, following Rembrandt's scheme, on a diagonal; note how depth is achieved by the effect of perspective; observe the idea of atmosphere or interposed space in the painting of Venice below, comparing the foreartist.

ground with the diffuse and imprecise background; note the change in the color spectrum (cold spectrum above, warm below) and the inclusion of figures that, life

besides giving

to the paintings, serve as a

reference to give a better idea of sizes

and distances

It is

therefore not exaggerating to say that Boning-

ton spread the virtues of the watercolor medium throughout France by way of his fellow artists and their social connections. In 1825 Bonington returned to England at the same time as Delacroix. Meanwhile back in France, artists like Roqueplan and Isabey had begun to paint with watercolors following his style. The "Bonington Style" outlasted the artist, who died of tuberculosis at age twenty-seven in

39

40

hi,

1828.

John Sell Cotman deserves a special mention as "one of the best landscape artists of the 19th century in England." Cotman was also a member of the privileged few at Dr. Monro's school during the time Turner and Girtin were there. He began by imitating Girtin's style until he developed and achieved fame with his own style. It is said that

who

Cotman

advised his son

be a painter to "draw strictly the truth; if you wish, take away or eliminate certain things, but do not add anything." Cotman was an expert in drawing and synthesis; he favored summarizing, harmonizing forms, and enriching colors, paying careful attention to the composition of the picture. He dominated the wet watercolor technique.

28

also

wanted

*

V

I

,iit

to

rF*^


41-Richard Parkes Bo-

Fig.

nington, Venetian Scene. Wallace Collection,

London. The

quality of the watercolors of

Bonington,

scapes

was

ures,

who

painted land-

just as perfectly

on the diffusion painting

as

fig-

a decisive influence

watercolor

of

France,

in

where Bon-

ington lived for several years,

associating with the major artists of

the time, including Dela

croix, Corot, Gros,

Fig

42- John

Sell

and others

Cotman, St

Paul's Cathedral. British

Mu-

seum. London. Cotman had an instinctive sense for the art of composition and an extraordinary capacity for creating contrasts

and harmonizing the col-

ors of a painting. This,

com-

bined with his fortunate choice of subjects

the

best

made

English

hihn

one

of

watercolor

landscape painters of the 1 9th century. Cotman attended Dr Monro's academy for a time and was the most important " 42 Srtist of the "Norwich School

29


great english masters of the 19th century John Varley and Joshua bers of the

first

Cristall

were

mem-

society of watercolor painters

founded in 1804. Varley was aided by Dr. Monro and became an expert in composition and color harmony. Cristall may have been somewhat more original and definitely more spontaneous. A few years later three important artists joined the society. They were Peter de Wint, A. V. Copley Fielding, and David Cox. De Wint had

Fig. 43-Samuel Palmer. In a Shoreham Garden. Victoria and Albert Museum, London.

A few

touches of gold and those white circular marks, painted with white gouache. are characteristic of the paintings that Palmer produced during his lived

"Shoreham" in

Shoreham

period. for

He

nine

years, during

which he had the

"dreams and

visions" that un-

leashed his imagination.

been to Monro's school, where he met Girtin and studied with Varley. He was very successful painting

landscapes that pictured his

home

region, the Lincoln plains. Copley Fielding

was a master at capturing the interposed atmosphere of landscapes with lakes and mountains. His watercolors showed some resemblance to those Turner had painted earlier. David Cox was a disciple of Varley, and a very studious one at that. He wrote some books and was always trying to improve his watercolors.

He

tried using a

new

coarse grain paper

and was inspired by Turner, on the latter's return from Italy, to use a richer palette. Constable's story is different, as he usually painted with oils. He was one of Europe's best landscape artists and he experimented with gouache and watercolor. The list of watercolor artists could be further increased by adding a group of Bonington's followers,

among them Thomas

Shotter Boys,

William Callon, and James Holland. Other artists formed different groups throughout the 19th century. One of these groups was the Sketching Society, and its members, John Li-

Edward Calvert, George Richmond, and Samuel Palmer, were all followers of William Blake. Of this group, Samuel Palmer was the most famous. He was greatly in awe of some of Blake's work. According to Cotman's son. nell,

Palmer went through a visionary period during which he painted in a truly original and fantastic style. Another group, the Pre-Raphaelite Brotherhood, had Millais, Hunt, and the well-known Dante Gabriel Rossetti as members. They used oil paints mainly but also dabbled somewhat in watercolor. The members of the Brotherhood were grouped according to a series of precepts: painting sincerely, symbolizing ideas and subject matter, and studying iconography in depth; using bright colors, paying attention to small details; incorporating painting out of doors; and incorporating watercolor techniques. They painted medieval and biblical themes like Rossetti's famous Ecce Analla Domini. 30

44- John Constable. The Church at Stoke Poges. Victoria and Albert Museum, London Constable was basically a Fig.

painter of

one

oils,

recognized as masters of

of the greatest

English landscape painting of

the 19th century Nevertheless,

he occasionally painted with watercolor, that

work

in

the peculiar style

can be observed

in

this


Fig. 45— David Cox (son). The Old Church and Community of Clapham, British Museum,

London. David Cox's son, also

named ors

David, painted watercol-

like his father,

imitating his

expert professional

style,

with

apparent ease of technique and pleasant colors. Father and son both exhibited their works at the annual expositions held by the Royal Academy of Watercolor Artists of England

46- Peter de Wmt. Bridge Over a Tributary of the WitFig.

ham

River

in

Lincolnshire.

Tate Gallery, London

attended

De

Wmt

Monro's academy, where he met Girtin, whose influence was apparent in all his work The plains and landscapes of Lincolnshire

were

Dr

his favorite subject In the

water blades of grass in the foreground of this waterfine horizontal lines of the

and the color,

Wmt end it

thin

one can see lines that de probably made with the

of the

brush handle, using

to scratch the paint while

was

still

it

wet.

31


the success of watercolor painting

in

england

n

*^

*^pm *T»»

n

47

The

success of watercolor painting can be

fol-

lowed chronologically. year 1768 marked the founding of the Royal Academy of Arts in England with Joshfirst

president.

The found-

members included watercolor artists and brothers Paul and Thomas Sandby. ing

From

annual exhibit held by the Academy, watercolors were exhibited. In 1804 wathe

first

tercolor artists,

who

felt

discriminated against

by the Academy, which deferred to works in oil paints, founded the Old Water-Colour So-

32

This

new

society held

exhibit in

its first

Although they achieved great success, there was too much competition among members and in 1807 a rival society was founded. This ^roup was called the Society of Painters in Miniature and Water-colours. In 1824 the Society of British Artists had as its members both oil and watercolor painters. In 1855 Eng1805.

The

ua Reynolds as the

ciety.

land sent

1

14 watercolors to the exhibit at the

World's Fair public were

in Paris.

amazed

had developed

in

Both French

at

how

critics

England. In

and

medium 1881 Queen

well this

Figs. 47,

48-(Above) Peter de John

Wint, Gloucester, (below) Varley, York, both

in

the British

Museum. London Two wonderful watercolors of the 19th

century that would be to surpass

difficult

even today Peter

de Wint showed a special preference for this elongated format, which was in fashion during the first half of the 1800s

De Wint's watercolor truly

tiny,

147X384 John

(top)

measuring

mm

(5.8"

X

Varley's. a bit larger,

219X472

mm (8 8" X

is

only 15") is

186").


Victoria decreed that the original (called the

"Old" because it was the first) Water-Colour Society could add the word "Royal" to its title. When that Society had its first exhibit in 1805, over 12,000 paying visitors went to see it. Watercolors had achieved a clamorous success in England, a success which spread to Europe and the rest of the world.

49— George

Scharf, The of the Exposition Hall of the New Society of Painters of Watercolours, Victoria and Albert Museum, London. The Fig.

Interior

duction of the building and am-

bience of sition

this

watercolor expo-

mounted by the New So-

ciety of Painters of Watercol-

effects of light

To understand the significance and excellence of Scharf's work, is enough to

and the

recall that this

preciousness,

fidelity of

design,

and shadow, of atmosphere—interposed space— that feeling

Scharf achieved

in this

magnifi-

cent watercolor are admirable. It is a remarkably faithful repro-

ours.

it

1

took place

in

808— was the second expoit

held in London— and that photography did not yet exist sition

at

the time

33 i


europe: 18th century Watercolors were not well

known

until the late 18th century. It

that the

in

was only

French word aquarelle

first

France 1775

in

became

used as a translation, of the English "watercolor." There was, however, a French artist, Hubert Robert, whose watercolors had been well received by the critics and the public. In 1754, Robert went to Rome and spent eleven years in

Italy.

He

studied with Piranesi and

Panini, painting landscapes with ruins.

accompanied

briefly

Fragonard, in 1761.

by another French

Two

artist,

other Frenchmen,

Desprez and Challe, also went to

The

He was

Rome

to

of these artists helped to promote watercolor painting in France. paint vedutas.

activities

Switzerland, land of fascinating landscapes, gave us outstanding artists such as Johan Ludwig Aberli and Abraham Louis Rodolphe Ducros. Aberli was a bucolic artist and a nature lover. Ducros used such powerful contrast

and

intensity in his watercolors that at

first

be painted in oils. He worked with a reduced range of colors, made up mainly of ochres, siennas, and blues. It is possible that during his stay in Rome his style sight they

seemed

to

influenced the English watercolor painters.

An

interesting

theme of 18th-century

that of botanical paintings.

One

art

is

of the best-

known artists was Pierre Joseph Redoute, who was born in Ardennes. In Holland we can admire Jan Van Huysum and his follower Gerard Van Spaendock. Fig.

50— Abraham

Louis

Ro

dolphe Ducros. Night Storm in Cefalou, Calabria, Cantonal Museum of Fine Arts. Lausanne With a limited spectrum of colors— ochre, sienna, and blue— Ducros achieved this spectacular richness of color that

even fooled the experts

into

thinking

that

this

was

an oil painting Ducros also demonstrated a magnificent talent

for

drawing,

construction

enabling

the

and artist

to sell his etchings easily while

he was Figs 51.

in Italy.

52- (Left) Gerard Van

Spaendonck. Campsis Radicaus. (right) Jan Van Huysum Study of Flowers in a Vase. Fitzwilliam

Museum,

Cam-

bridge. England

51

34

52


53— Johann Ludwig AberThe Waterfall. Victoria and Albert Museum. London. In this watercolor, painted around 1750. one can still note the style associated with vedutas Fig.

li,

or etchings in the definition of

forms by intense

fine

color.

penstrokes or This formula

which made it possible to "fill n" etchings done in a series by painting

in, is

less obvious here

He conbetween foreground and background in thanks to Aberli's

skill.

trolled the contrasts

order to create the so-called aerial

perspective or

illusion of

interposed atmosphere These

same

effects can

be seen

in

the reproduction of the watercolor by Paul

Sandby

in fig

29.

35


europe: 19th century During the

early part of the

19th century,

Ingres was against Delacroix

and vice versa. Jean Auguste Dominique Ingres was a staunch believer in Classicism, Raphael, academic painting,

and maintaining the

status

quo

in art.

On

Eugene Delacroix was the opened the doors for Realism, Impressionism, and Modern Art. Delacroix emerged victorious and his success became that of watercolor as well. Nineteenththe other hand,

leader of Romanticism and

century

art

grew in the direction of greater and light, and a brighter palette.

color, synthesis,

In essence, watercolor art

is

color, synthe-

sis, and light. Because of his ideas Ingres painted few watercolors, while Delacroix was an ardent watercolor artist. He was Bonington's friend and visited London, Rome, and North Africa. In the latter he painted numerous watercolors depicting typical scenes and people. Outstanding in France were Paul Gavarni and Eugene Lami. The latter founded the Societe d'Aquarellistes in 1879. Founding members included Gustave Dore, Isabey, and Harpig-

nies. It

is

well

known

that

Honore Daumier

used watercolor to illuminate toons.

It is

his political car-

surprising to learn that, except for

Berthe Morisot and Eugene Boudin, the Impressionists did not use watercolors. (Cezan-

ne is a separate case.) Lastly there is the painter and teacher Gustave Moreau, whose pupils included Roualt, Matisse, and Marquet. The Dutchman Johan Bar Thold Jongkind painted marvelous watercolors as well as oil paintings.

He

spent a great part of his

Paris and, with

life

in

Boudin, became a prime sup-

porter of the Impressionist

movement.

Watercolors became appreciated in Germany during the second half of the 19th century.

Among

the well-known artists are Johann Lucas Von Hildebrandt and Adolf von Menzel.

Scotsman David Robert took watercolor art to Spain where it caught on thanks to the enthusiasm of Perez Villaamil. The pair traveled new art throughout the Iberian peninsula. Two excellent watercolor artists, Lucas and Algarra, collaborated with Villaamil. It was Mariano Fortuny, however, who made watercolor better known throughout Spain. He was one of the best artists of the 18th century and had a great knowledge of the procedures that watercolor involved. Mariano Fortuny, born in Reus, in the province of Tarragona, but who had his own studio in Barcelona, was, furthermore, the instigator of the first Spanish association of with the

36

55

54- Eugene

Fig

Delacroix.

Fig.

Horse Attacked by a Panther. Louvre. Pans Quick notes, like sketches, on subjects in his imagination or painted from nature, were a constant occupation and exercise for Delacroix The tens of hundreds of notes that he did during his tripsdrawings in

kind,

Barthold Jong-

Dutch Harbor. Fine Arts

Museum, Budapest Isabey and born

in

Pupil of

Holland, he

spent most of his time in Paris, where he studied under Isabey and mixed with the Impressionists. Jongkind worked with oil paint as well as with watercol-

of animals or subjects

ors.

the countries he visited-

were almost always done

55-Johan

specializing

in

maritime

subjects characterized by their

precise drawing

in

watercolors

watercolor painters, which was founded in 1864, in Barcelona, under the name of Centre d'Aquarellistes.

From

emerged, first in and later in 1920,

this

1881 the Cercle Artistic

Agrupacio d'Aquarel-listes de Catalunya. At the national level, the first association called Sociedad de Acuarelistas was founded in Madrid in 1878. the

present


Fig. 5G— Eugene-Louis Lami, Louis XIV in the Gardens of Versailles. Louvre. Paris. Lami was an expert in watercolor

His

good

relations with the up-

per class of the French Second

Empire allowed him to court and specialize like this

in

join

the

subjects

one. inspired by French

history

Fig.

57— Henri

Harpignies.

View of the Seine with the Tui~ lenes. Louvre. Pans. Contemporary of such illustration and watercolor experts as Cicen. Lami. Gavarni, Daumier and Dore, Harpignies is one of the most renowned French watercolor painters of the last cen-

remarkable for the soberness of his colors and the perfection of his drawing.

tury,

57

37


mariano fortuny Fig.

58- Mariano Fortuny y Car-

Goya Mu seum. Castres. Fortuny was an bo. Half-naked Man.

all-round

artist.

great ease; he

which

He drew

left oil

with

paintings

exhibit a control over the

figure that

won him

the sur-

name of "master;" and he used watercolors with truly remarkable craftsmanship

He went

Rome when

he was twenty After two years of study he traveled to Morocco where he

to

produced the

official

commis-

sion of ten big paintings about

the Spanish-Moroccan war.

Morocco he made

In

watercolors, including the one reproduced here. Then came trips to Paris.

several

London.

Rome

again, Granada. Rome... Unfortunately, Fortuny died at the

age

of thirty-six, considered

among

the greatest watercolor

artists of

the 19th century.

58

38


cezanne Fig.

with

59- Paul Cezanne. Boy Red Coat. Walter File-

chenfeldt Collection, Zurich.

Without doubt, Cezanne

is

mod-

contemporary. Between Mariano Fortuny's painting on the previous page, made around 1862. and Cezanne's work of 1 902. some forty years have passed. What a jump, what a radical changel During those forty years. Impressionism was born, the palette was purged, shape and color were resumed, details lost their importance. Cezanne went beyond Impressionism: he emPost-Impressionism, bodied and laid the foundations of Cubism. He is credited today as one of the great promoters of modern painting. This watercolor confirms this: it could have ern,

been painted today,

in

the late

20th century.

39


europe The

first

in

the

first

half of the

20th century

abstract painting in the history of art

was a watercolor painted

in 1910 by Wassily Kandinsky. However, watercolor artists, with a few exceptions, did not participate in this art form. As a matter of fact they kept their distance from the styles

and movements that came

cession during the tury.

first

in rapid suc-

half of the 20th cen-

They did, however, incorporate into their

works the light and spontaneity of the Impressionists and use the colors and contrasts and some new schemes of composition from Modern Art in general. On the other hand, the great masters of Modern Art, Picasso, Dali, Miro, Matisse, and

Braque, hardly ever used watercolor. In spite of this the quantity and quality of watercolor artists throughout Europe grew to such propor-

becomes difficult for us to single out any one here. There are, however, certain

tion that

it

important innovations that bear mentioning. There was a tendency to use watercolor to imitate oil paint, using greater body and color and sacrificing transparency. Anther innovation was the use of "tricks" such as using wax or masking fluid to set off open spaces or using

turpentine,

salt,

stains,

or sprayguns to a-

chieve special effects. On this page you can see some watercolors from the early 20th century. They include works by Wassily Kandinsky, the artist of the first abstract mentioned earlier, Emil Nolde, and August Macke. On the next page we see

works by Maurice de Vlaminck, Maurice Utrillo, Juan Gris, and Pablo Picasso. These are all well-known artists who, except for Nolde, did not usually work

40

in watercolors.

60— Wassily Kandinsky. The Cossacks. Tate Gallery. London. A watercolor similar Fig.

to this

was

the

first

abstract

Fig

61-Emil Nolde, Irises and Ada and Emil Nolde

Poppies,

Foundation. Nolde

man

Expressionist painter

felt

ors by Kandinsky

tive art

1910

the year

a Ger-

who

a great passion for primi-

painting, painted in watercolin

was

and

nature.

Fig

62-August Macke, Yellow

Jake. Ulmer

Museum, Ulm. In Macke offers

this watercolor.

us a sample of his Futuristic style

and

his Post-Impressionist

coloring, both factors directly

influenced by Delaunay, with

Kandinsky

formed

and

who

Macke

part of the Blaue Reiter

(Blue Rider) group.


63

65

64 Fig. 63- Maurice de Vlaminck. Landscape. Staatsgalerie.

Rue Sainte-Rustique Covered

Stuttgart.

in

with

Matisse,

together

Derain, Vlaminck,

and

artists, were the initiators, along with an exposition held

other

in

Paris in

dency

1905, of the ten-

or style called

(wild beasts). This

plied

a

by an

way

Fauvism

apdescribed

title, first

art critic,

of painting with violent

and contrasts. However, after two or three years, Vlaminck stopped painting like a Fauve and drew closer to the theories and style of Cezanne. colors

Fig.

64- Maurice

Snow,

Utnllo,

The

Paul Petndes Collec-

tion, Paris.

This watercolor with

a mixture of white gouache,

is

an innoof drawing

typical of Utrillo's style:

cent, childlike

way

and painting, appropriately called "the difficult innocence."

Fig.

65— Juan Gris, Three Museum of Fine Arts,

Lamps. Berne. 1

91

1909 and

Between

the Spanish painter Juan

Gris did

some watercolor paint-

ings to practice drawing forms

and

color. Apparently,

Gris

was

trying to

what

determine

with these oversized studies

-47.8X61.8 cm (19"X24")~ was what direction to follow in

the future.

later,

In

fact,

a year

together with his friends

Picasso and Braque. he started

on the adventure of Cubism.

66- Pablo Picasso, Young and Chlld Gu 99en?! u heim Museum, New York. This is one of the many sketches Fig

°

-

blue and pink periods. This

is

a watercolor with a mixture of

gouache

that Picasso did for the painting Tnpeze Artists (Family

Saltimbanques).

was

in transition

just

as

between

of he

his

41


watercolor painting today On see

this

page and the ones that follow you

some contemporary

will

whose harmony

watercolors

form and color reveal a language in with today's art. While some are impressionist

and others

expressionist, they are linked by the constructive base watercolor painters have

never abandoned. Watercolors still depict traditional topics: country landscapes, seascapes, ports, railroads, still lifes, portraits and figures, and nature in general. Present-day scenes, such as urban areas and

suburban houses and

streets, are also repre-

sented.

67- Andre Dunoyer de Se-

gonzac, Feucherolles in Au-

tumn, private collection. Seprimarily an Impressionist, influenced by Cezanne, who also did many etchings— 1 ,500 of them from 1919 onward- which are today considered his best works.

gonzac was

Fig. 68— Roland Oudot, La Giudecca. Venice. Albert Balser

Geneva. Roland Oudraws our attention by its emphasis on the drawing, with the forms outlined

Collection,

dot's style

with a fine line of India coloring

is

ink.

The

also characteristic

of his style, with the

shadowed

areas where blues, siennas, grays, and reds interact with a vibration

that

undoubtedly

gives quality to the work.

42

»/»..UA

a.

$*n^ J^pi^Xf


69—

Fig.

Venice,

Emiho

private

Grausala, collection.

Grausala, a Catalan

painter,

moved to Pans in 1932 and became a part of the Second Spanish School of Pans, as

It

was called. He generally painted with oils, but on some trips and

in

private

he did small

watercolor works painted with proverbial

his

gaiety

and

richness of color.

69

Fig.

70- Ives

Brayer,

Flower

Market. Mexico, This work represents a modern concept of

watercolor painting: a synthesis of

form and

color, explain-

ing the subject

in an abbreviated manner without entering

into details; a

premeditated

lu-

minosity with a predominance

and a richness of colors, also calcula-

of light colors over dark;

ted to add to the transparency typical of watercolor Brayer al-

ways paints with watercolor. He draws with great mastery, usually with lead pencil, and he always works with the model in front of him.

r"i».B «»/•«..

70

43


watercolor painting today Fig 71

-Ives Brayer. Half-light

at Baux-de-Provence. private collection this

As can be seen

in

landscape. Brayer painted

with

conventional

colors,

attentive to the realism offered

by the scene, attempting to capture the

impression

first

suggested by the subject, applying pure watercolor techniques, enjoying "the pleasure of playing with the

white of the

paper"— as he puts

- "en

lee de couleur.

ceau"

it

himself-

une coudu bout du pin-

utilisant juste

Fig

72- John

Piper.

Bethesda.

North Wales, private collection Piper is known as an excellent

modern ish

interpreter of the Britlandscape, which he rend-

ered with an obvious mastery technique and medium. In

of

landscape for instance, he mixed watercolors with India ink, layering wet over wet, and using frottis. the dry brush technique. A book of his work done in England and Wales

this

was

recently published.

(sic).

71

72

44


Fig. 73— Julio Quesada, Landscape; Tamajdn (Guadalajara). private collection. This is an ex-

contemporary watercolors. as the Spanish artist, Julio Quesada, is so

cellent

example

of

Fig

74- Michel

Ciry,

Michel Ciry decided to paint watercolors around 1960. Six years later, he obtained these results while painting in central

capable of exemplifying. He paints in his own way, with a

Spain.

In

tilian

landscape,

very personal vision and inter-

with a subdued,

pretation; perfectly

with a sober but harmonized color

Segovia.

Lausanne

private collection,

harmony with the CasCiry

paints

warm

palette,

formed

of ochres, siennas,

grays,

interrupting

and

the land-

scheme; synthesizing, summa-

scape with houses and roads

few exact, precise brushstrokes, which neverthe-

that

rizing in a

less site,

capture the forms, the fields, and the trees. But

the

above all, he executes all this with an exceptional mastery of

contrast with the

black

and the earth scorched by the sun This painting is a good example of the synthesis of form and color. trees

pure watercolor technique.

45

"


the 19th and 20th centuries

in

the united states

The American Watercolor Society was formed in 1866 with Samuel Colman as its president.

was already popular in was mainly because oil painters Thomas Eakins and Winslow Homer also used watercolor. Homer was a bohemian loner who worked as a magazine illustrator, correspondent, and sketcher. During his travels he visited France, England, Canada, Bermuda, and Nassau. After the age of forty, he devoted himself entirely to painting. He had a special gift for choosing marine landscapes and then painting them with oils or watercolors and giving them extraordinary color. The end of the 19th century was a marvelous time for American watercolor. Maurice PrenAt

that time watercolor

the United States. This

*«4-f -"Mp~-- rz :

Mary Casthe adventure of Impressionism in

dergast depicted groups of people. satt lived

France. James Abott McNeill Whistler was

John Singer Sargent, the famous portrait and watercolor artist, though American, was born in Italy and educatalso an Impressionist.

75- Maurice

Fig

Low

Prendergast.

Beachmont, Wor-

Tide.

Museum. Born

chester Art

in

Boston, Prendergast went to

age

Paris at the

of

twenty-one

when Impressionism was swing, so

it

is

his paintings

enced

by

in full

not strange that

should be influManet, Monet,

Renoir, Pissarro, etc. Curiously,

Prendergast specialized

in

the

subiect of crowds, or groups of

people

tion,

or

as

in

in

a particular situa-

in his

painting The Walk.

this

one,

Low

Tide

In

9 1 4, he returned from Europe to New York, where he exhibited with Los Pocho, a radical 1

group that indirectly infused American art with new life.

Fig. 76— John Singer Sargent. Mountain Stream, Metropoli-

tan

Museum

of Art,

New York

Painting his magnificent portraits in oils.

Sargent was fabu-

lous: painting with watercolors

he was also extraordinary At eighteen he was in Paris studying under the painter Carolus,

46

who

inculcated

him with

a

basic rule on synthesis that be-

came

Sargent's credo during

career as an artist: "In art. anything that is not indispensahis

ble

is

prejudicial

H m

ft

i

.

THE PAINTER'S STUDIO

the studio for painting The watercolor

artist usually works outdoors. His favorite subjects are usually landscapes, seascapes, city streets and squares. Nevertheless the watercolorist, like the painter of oils, also needs a studio for drawing, painting from

sketches, traits

.

still lifes,

figures

from nature, por-

watercolor

81-The amateur, install

his

to begin,

studio

in

one mentioned

earlier.

However,

any

room in the house. All that is needed is a table, a drawing board, and a chair. The board allows the

artist

to

hold the

watercolor paper at a slight incline by resting the board on the table with the help of a

.

To begin all you need is a tabletop easel and another table to hold water pitchers, brushes and paints, a sketch pad, a chair, a desk lamp, and a pair of portfolios in which you can store drawing paper and finished works. The studio of many professionals is as barren as the

Fig.

can

in

few

books, or at a greater slant by resting

the

it

edge

in

his lap

and against

of the table.

if one

wants to invest in setting up a place to work very comfortably the following would be an excellent choice:

A room measuring 4 m square (about 12 square with white walls and large windows with a northern exposure for working in daylight. A good choice for a table would be one whose top can be tilted at different angles. The chair should have an upholstered seat and back, at a height that can be adjusted at will and metal casters for easier rolling. To keep supplies, such as pitchers of water and the box feet)

81

82

Fig.

82— Sir

William Orpen,

The Model. Tate Gallery. London. The Irishman Sir William Orpen offers us, in this magnificent watercolor. a partial view of his studio in

ently a small this

50

London, apparto judge by

one

1911 painting.


ighting the professional studio it is useful to have an on casters. To paint you studio easel and a tabletop easel. A

of watercolors close by, auxiliary table, also

need a

bookshelf wall unit with drawers place to put

is

away paper, sketches,

and the end product.

a useful

first drafts,

A stand for file folders, a

sink with running water, art books, a stereo,

and a sofa or loveseat where your model can sit or where you can listen to music, read, or chat with friends are also nice to have.

The main source of from

large

windows

daylight should

come

to the left of the

work

wise to have blinds or curtains since they allow you to regulate the amount and type of light. Your electrical lighting should be powerful and evenly distributed, allowing the use of the studio for painting at night. It is wise to consult with an electrician and install at least one lamp with four fluorescent bulbs. Two of these should give warm light and two table.

It is

cold light to imitate natural daylight.

A

table

lamp should have an extendable arm and give it is important to near the sofa and create an intimate spot for relaxing, listening to music, and talk-

off at least 100 watts. Finally,

have

light

ing.

83-Gaspar Romero's

Fig.

stu-

glass

with

inside

the

house in Barcelona As you can see, the furniture is

trading

limited to a folding table with a

slides,

etc.

ment.

9:

dio

in

his

slanted top. a small side table, a

studio easel of the classic

three-legged type, and a stool for working partially seated.

electrical

top

fixture

drawer,

designs,

looking

for at

Stereo equipSink or basin with 8:

running water (not

shown

in

figure)

Lighting: A:

Windows,

daylight

Set of Fluorescent lights. C: Table lamp. D: auxiliary lamp. B:

Fig.

84-This

is

an

ideal stu-

dio for watercolor painting: a room with white walls,

4X

4

m

(12'X

windows

12'),

facing north

following furniture

Furniture 1:

with

and

large

and the lighting:

and tools

Table. 2: Tabletop easel

in

the form of a lectern. 3: Auxiliary

table with wheels. 4: Swi-

vel chair, with adjustable height

and wheels.

5: Bookshelf. 6:

Counter with tray-drawers. 7: Set of drawers above the counterto store materials. 7a:

White

51


furniture The

following

is

a

list

and

tools

of the furnishings neces-

sary for the studio of a professional watercolor artist.

A

be a regular desk with drawers to keep boxes, brushes, and other materials. However, this type of table is only a temporary solution. Professionally speaking, it is best to work with a table designed specifically for drawing. An inclined tabletop allows for a better view of the painting currently being worked on. For this purpose, please look at the classical folding table (fig. 86) which has been on the market for over fifty years. This style is known to young and old watercolor artists, but it has been outdated by more modern and functional designs. Modern tables include those used for technical drawing and architectural drafting, which are also useful for artistic drawing and painting. They are made of formica with metal hardware and have functional designs table for painting. This can

office

and elegant lines (figs. 87, 89). The latter, custom-made, has two independent sets of drawers and a slanted tabletop. This allows for the drawers to be separated and the table size to be increased on both sides. Please note in the

same

85

figure that the depth of the drawers

Fig

85— These

are the pieces

of furniture that are really indis-

working

wa-

pensable

for

tercolor

studio:

drawing

table, a lectern-type

tabletop easel,

in

the

the

regular

a small side

Fig.

jars

86

52

Fig.

be

this

slanted as desired— in use for

found

in

the studios of

still

many

professional watercolonsts

and a comfortable swivel chair with wheels and adjusPaints,

classic drafting

over a hundred years— is

table,

table height

86— The

table with a top that can

87-The modern table,

like

"pioneer" by the maker Americana, in the United States,

can be both elegant and funcas seen in this picture. It has a top that can be tilted at any angle, drawers for extra tional,

materials, bars to rest the feet

on.

brushes,

with water, paper, etc.

87

and other features


allows for a board to be placed on one of them to form an auxiliary table. This will substitute

second table mentioned earlier as a place to put water, brushes and colors. Other for the

necessary objects include a table-top easel like fig. 85 and a classical three-

the one seen in

legged easel. It is

necessary to have a smaller table on which

to place water, paper, brushes, sponges,

and

paper towels. This can be a special piece of furniture with springs, shelves, and all kinds of drawers. If it also has a tilted board it is possible to paint without any table (fig. 86). It is even possible to use a normal table or a contraption such as the one I use. This consists of a regular typing table with a board on top (fig. 90). Regardless of the style you choose, this second table should have casters or wheels. This way it can be easily transported to the drawing table or easel you are currently using.

A

professional studio also needs a stand like

the one in

fig.

91

on which one or two

large

portfolios with sketches or finished paintings

This makes it easier to show your work to visitors and prospective buyers.

can be

left.

88— Here

single piece of furniture the

89— Drawing table formed by two sets of drawers and a separate board as the desk top,

an old typewriter table and a simple wooden board that

table, tabletop easel, a

shelf

allowing the table to be length-

tied to the table,

auxiliary table,

ened by moving the drawers out. The drawers are long enough so that one of them can be used as an auxiliary

Fig.

invention that

that serves as

is

a

marvelous

combines

an

in

a

two shelves to store materials, and three tray-drawers to keep paper, drawings, and watercolors (maximum size 32 X 50 cm). Equipped with wheels, it is at the very least a complete

Fig.

table by placing a board of

Fig

90- Some time

ago, using

I

sort of auxiliary table

which works

made

I

this

on wheels,

just as well for

oil

painting as for watercolor.

on top

it.

auxiliary table.

Fig

91 -The stand

for

large

uses keeping paper and com-

portfolios that the artist for

pleted studio,

work

is

pieces and to IikmkIs

essential

in

a

both to conserve the .lllll

show them

to

lllt'lltS

53


running water, wall unit armchair... Running water

in the studio is not a must, but does make life more comfortable. You will need water to paint and it has to be changed periodically. The reason why the source of water should be close by is because you also

jects, sketches,

need it to wash the palette, the box, the brushes, and other things. You can also use it as part of the normal white sink with chrome faucet. I installed one made of traditional ceramic and the result is quite pleasing. If the studio is large enough, a complete wall unit may be a worthwhile investment. You can use the regular drawers to put away brushes, colors, palette, and jars. Tray-type drawers are the best place to keep your paper, future pro-

depth of 6 about 85 x 60

it

drawings, and finished watershould also have a table with

colors. This unit

a large

enough surface

to fold, cut,

and mount

the paper.

You will need to have two or three boards with

mm and two standard measures,

a

cm and

recommend

100

x

70 cm.

you have a comfortable chair. It should be on casters with upholstered arms and back and adjustable height, similar

I

used

to those

that

in offices. Painting

is

a tiring

Do

not forget that inspiration and creativity are still on speaking terms with com-

procedure.

92

fort.

Fig.

92— Running water is need-

ed in a studio, but instead of an ordinary sink and faucet, I

installed this decorative basin

of old-fashioned porcelain at

very Fig.

94- There

studio with the traditional round

least

two

wooden three-legged stool, but recommend drawing and

in

the studio and

6

mm

93— You can work

Fig.

in

your

I

painting el

on a comfortable swiv-

chair with adjustable height

and wheels. worth

it

You'll

see that

it's

70

X

at

large sturdy portfolios

two

or three

plywood them 65 X 80 (26"X32") and one 100 mm (28"X40"). (1/4") thick

boards, two of

cm

should be

Fig.

95- Notice

this

piece of

one section serand another as a counter, and traydrawers to store blank paper, sketches, designs, and original furniture, with

ving as a bookshelf

vatercolors that are finished or

A

set of drawers

can be added

to this table to

store materials

and

in

progress.

tools.

One

drawers can be fitted with a clouded glass with two fluorescent lamps inside the drawer and used as a traof the top

cing table, or for looking at slides, etc.

93

54

little

extra cost.

'' ';:'•.*•-.

'''''.'

i

1

-

:

-

\

'

I''•>' ;

H8HF

Mb JK 5<¥-L

;%£#%

..-"Never have painters had such varied and well-tried means available to them with which to express their thoughts."

Maurice Busset (1927)

I

.."'•.

H^HiH^H

MATERIALS AND TOOLS

the easel Most

easels used in oil painting are also useful

for watercolor painting.

There are some like have been designed

the tabletop easel that specifically with the watercolor

artist in

mind.

Every easel for watercolors needs a supplementary wooden board to hold the paper. This

of an easel for

the board the

way they

Fig

97— Special tabletop easel

want it. Indoors the situation is similar; some work on their desk which is slightly tilted,

for

watercolor painting. The de-

others use a tabletop easel set at a 45° angle, while there are those that use a conventional

the one

tilting

which places

their

work perpendicular

It is my belief that a 45° angle is the most appropriate for developing adequate

to the floor.

ing in watercolor.

watercolor techniques. A good portable easel for working outdoors should meet the following requirements: lightweight, stable, movable height, and a mech-

Among professionals there is no set or agreedupon angle be

which their drawing pad should Some work outdoors with the board on the ground; others prefer the aid

tilted.

lying

flat

at

99- A portable

Fig

ing

metal, fold-

recom-

highly

easel,

mended for watercolor painting compact solid mechanism that makes possible to slant the arm (A) as because

of

its

it

desired, to hold the board or

pad

of

paper firmly

100— Portable

Fig.

easel

one

similar to the

to

hold the paper in

its

almost identical to that

shown

in fig.

60 cm.

It

its

can be

angle, for painting position

or

at

a

103. with

smaller size tilted at in

any

a vertical

greater

or

lesser slant.

place.

Fig. 105- Finally, this is the best known and most commonly

used studio easel for oil painting It can also be used for water color painting provided the board is in a vertical position, though this may not really be advisable

for

made

watercolor painting,

wood,

place.

in

anism

is

the exception of of

easel,

not necessary if the paper is attached to a board or rigid block made especially for paintis

sign

of a traditional studio easel like

of

in fig.

99, also foldable, but with the addition of a small board on which the watercolor palette can be placed The inclined

arm

(A) of this

model

not as

is

sturdy or steady as the one on the previous easel.

101— Traditional

Fig.

own

its

in

case,

easel with

common

in

Europe and America

use

for

oil

The top can be slanted as desired, and all the materials and tools needor watercolor painting

ed for watercolor painting can be carried in the case. This stylized

model

slightly

is

narrower and lighter than the standard model.

102— Traditional

Fig.

easel with a tripod

studio

and an ad-

justable height tray, but smaller than the traditional for

oil

Figs.

that

model

painting.

103,

104- Studio ease

can be used

for

oil

or

wa-

tercolor painting thanks to slanting top.

functionally less

built,

folded)

(fig.

its

and and takes up

is

solidly

space than the

studio easel

56

It

traditiona

104 shows

it

J

MATERIALS AND TOOLS

Fig. 98-Tabletop easel designed for watercolor painting. It has the form of a lectern and can be tilted to 45°. Whether

painting watercolors with this or

any other type of easel, a is needed on which to

board

rest or fasten the paper, unless

you are painting with paper mounted on cardboard or on a drawing tablet.

M \TFRIALS AND TOOLS

paper

for

watercolor painting

In watercolor painting the choice of the right is paper made pulp which is made by machines or molds, and has a medium quality. Papers of the best quality contain a 100% rag and are handmade with great care given to how they are glued. This last process determines the paper's quality and how it will stand up to the

paper of

is

very important. There

wood

many layers of watercolor applied. The highestquality paper

is

quite expensive but there

intermediate quality nies that

is

is

an

made by some compa-

acceptable. High-quality papers

can be distinguished by the mark of the manufacturer somewhere on the paper either stamped in relief, or the traditional watermark, which can be better observed by holding the

paper up to a

light.

There are three basic textures of paper that are

throughout the paper. These holes retain and accumulate the wet watercolor paint so that it takes longer for

make

it

them

difficult for

to dry. These holes the beginner to work with

watercolor. However, for the professional, they offer a better control of moisture and of the watercolor paints themselves. In theory this paper takes away the brilliance associated with watercolor because each hole acts as a minia-

ture

shadow.

However,

in

practice

this

darkening of the painting is hardly perceptible. All these papers have a front and a back which should be taken into account because the front has a better finish. The easiest way to

know which

which is that the grain in is asymmetric while on the back the grain has a more regular texture and can even form a small design or diagonal pattern. side

is

front

Fig. 106— To distinguish between drawing paper and good

maman-made, manufacstamp their dry mark in

quality watercolor paper,

chine or turers

relief in

one

of the sheet's cor-

ners, or they print their logo

suitable for watercolors:

with the traditional watermark,

which can be seen by holding the paper up to the light (A list

A) Fine-grain paper

of internationally

B) Medium-grain paper or semirough

known manu-

facturers of drawing or watercolor paper appears on the next

C) Coarse-grain paper or rough Fine-grain paper

en

pressed while hot to straight106

However, it does maintain certain ridges are needed for watercolor to adhere. This

it.

that is

is

page)

why a completely flat paper is not well suited

for this art form. Fine-grain paper

is

very good

drawing and painting with watercolor if the artist is an expert at controlling outlines, fusions, gradations, and wet contours, since the for

finer the grain the faster the paint will slide

and

not an easy paper to work with, it does increase the luminosity of colors. Medium-grain paper has ridges which make it unnecessary to work at very fast speeds. Its spot, right in the middle between the most difficult and the easiest paper, makes it ideal for the beginner. This person should wait a while before trying other grains of paper. dry.

Although

this

is

Coarse-grain paper prepared for watercolor painting offers an accentuated degree of small holes dispersed regularly but asymmetrically

58

-.

-'

r

:

:.

•.-v

-.

;: '

MATERIALS AND TOOLS

Fig

107- Paper

watercolors.

some

the

of

for

painting

Here you have qualities

and

brands of the most commonly used papers for watercolor painting. From top to bottom and from left to right: Guarro fine grain paper,

medium gram

(1,2 and 3); Velazquez paper of 250 gr, hand made (4); Arches of 640 grs. (5); Fabriano paper in blocks (6): pasteboard from Felix Schoeller Parole (7): Arches of 300

and

thick grain

Melrat

below:

handmade (8): Fabriano 300 gr (9); Canson of 24

gr,

(10);

and

Guarro

pasteboard

of

gr

from

(11).

2

.

ttmMmm*

muni hill

7

.

...

...

ami

10 11

1

107

59

MATERIALS AND TOOLS

paper

for

watercolor painting

The

unit used for measuring paper is the ream, which is 500 sheets, regardless of their size. The weight of the ream and its conversion to grams per square meter of paper determine how thick the paper actually is. We therefore have very light paper of 45 grams, cardboard of 370 grams, and other sizes in between. You can buy paper in single sheets of specific measurements. Papers also come mounted on cardboard to eliminate the possibility of warping produced by the moisture of the watercolor paints and water. This paper is usually found in blocks of 20 or 25 sheets, glued to one another by all four corners, thus forming a compact unit that keeps its shape while one is painting.

Watercolor papers come in a large selection of sizes, from pads small enough to stick in your pocket, to large sheets for landscape painting. These sizes differ from country to country according to individual manufacturers. England has six different sizes from the small Royal Half (381 X 559 mm) to the large Anti-

10*

quarium (787 x 1346 mm).

MANUFACTURERS OF QUALITY PAPER FOR USE IN WATERCOLOR PAINTING 10!

Arches

Grumbacher Winslow Winsor & Newton Watchung

vidual

R.W.S. (Royal Watercolour Society) Guarro

is

&

Montgolfier

Fabriano Scholler Parole

Whatman

iL

108- Drawing paper

watercolor paper

Canson

60

Fig

Strathmore

is

sold

or

in indi-

sheets, in sheets attached to cardboard, or in pads. Some of this paper has the irregular

edges

handmade

that indicate

it

Other sheets have regular, even edges, an that they are indication machine-cut Watercolor paper

also sold glued to thick, sturdy cardboard, eliminating is

the

need to mount on a board back-up board. Drawand watercolor papers are

not. unfortunately,

versally sizes

standard a great va-

thus eliminating the problems

made in uni-

accepted

But there

is

109- Most paper manumake pads of 20 or

25 sheets attached to a thick and cardboard piece of "bound" with plastic glue on all four sides, forming a compact block with the sheets taut,

it

or use a ing

Fig.

facturers

riety of sizes available to suit

your needs and preferences.

warping caused by the moisture of the paints.

of curling or

"

MATERIALS AND TOOLS

stretching the paper How to stretch the paper over the wooden board: To paint on a sheet as taut as a

If you paint on paper weighing less than 200 grams per square meter, you will find that the

drum, without ripples, creases, or puckers caused by the wa-

wetness of the watercolor

tercolor's moisture, follow this

procedure:

make the paper you must first mount and will

warp. To avoid this tense the paper. This

is done by wetting the paper under the water faucet and allowing it to

stretch

on a tabletop

for a short while.

the paper should be taped so that, as Fig. 11

0— Take the sheet of wain both hands under running water, completely for about

and shrinks, it will remain not be affected by water.

flat

Then

it

dries

and tense and

tercolor paper

and hold wetting

110

it

it

two minutes.

1 1 1 -Transfer the soaked paper immediately to a board,

Fig.

and while a

it

wet, stretch

is still

it

with both hands.

bit

In practice, however,

most professionals skip work

the above-mentioned steps because they

with cardboardlike paper or with a block of mounted paper. Both of these eliminate the problems of warping. A professional friend of mine said: "We hardly ever use the method of wetting the paper and taping it to a board. I just thumbtack the paper and it is ready.

For those perfectionists who always

like to use present with figures and text the most frequently used methods of mounting watercolor paper.

the correct methods,

Fig.

1 1

we

2— Immediately, without

delay, tape

one

edges

of the

gummed tape roll 2 to 3 cm— or

with a strip of 111

(paper on a 3/4" to 1" wide).

Fig.

1

13-Continue

to tape

all

four sides of the sheet of paper

with

gummed

tape and then

leave everything to dry, keep-

board and paper in a position, without

ing the

horizontal trying to

speed the drying pro-

^^"^

cess with mechanical or forced

means

(in

the sun, with dryers

heaters,

or

After

etc.).

or five hours,

when

four

the paper

you will be able to on a smooth, taut surface that will not wrinkle no matter how much water your paints is

-

dry,

\

paint

require.

112 _-~

tffli

114

Fig. 114— The paper can also be stretched by moistening it

and fastening

it

with metal sta-

ples from a staple

gun such as

decorators use.

Fig.

11

5- We

nally, that

should add, fithanks to the remark-

able thickness of watercolor

papers sold today by most manufacturers,

many

profes-

sional artists skip stretching their

paper and simply fasten

it

down with thumbtacks or met13

al clips,

without wetting

it

115

first.

61

MATERIALS AND TOOLS

watercolor colors The

colors used in watercolor painting are

vegetable, mineral, or animal pigments

together with water and

gum

arabic.

mixed

Honey

and glycerine are added to prevent thick coats of paint from cracking as they dry, and a preservative is added to keep the paint fresh longer.

6— Pans

11

Fig

ors of an

These come with

six or

of dry watercol-

inexpensive type palette

boxes

twelve colors.

Some

in

makers supply

individual

refills

separate colors.

for

You can find paint in these four types: Tablets of dry watercolors

Tablets of moist watercolors

Tubes of creamy watercolors Jars of liquid watercolors

The

116

of dry watercolors are usually associated with an inexpensive product. They come in round button-like shapes and you tablets

have to use your brush firmly to obtain color from them. The tablets of moist watercolors are of professional quality and come in white plastic square boxes. To make the wet watercolors, the manufacturer increases the amounts of honey and glycerine and uses pigments of higher quality

Fig.

7— Pans

1 1

of moist water-

used by professionals. These are easily diluted in water and offer an extraordinary quality and intensity of color. They come in palette boxes of 6. 1 2. 14 or 24 different colors, and colors,

for individual colors are

refills

available.

so the colors dilute faster.

Moist watercolors come 6, 12,

or 24 tablets,

boxes with but they can also be bought in metallic

117

individually.

Creamy watercolors in tubes are also of profes-

Fig.

sional quality.

watercolor also used by profes-

They dilute instantaneously in water and give the same transparency as moist colors in tablets. They are available in boxes of 6 and 12

sionals.

They have the advantage

tubes and the ones with a capacity of 8 cm 3 are the most popular. You can also buy refill

same intensity and transparency as the moist watercolor tablets. They come in metal

tubes.

tubes

we have liquid watercolors, which come crystal jars. They are commonly used by

118-Tubes

similar

Their consistency to

that

of

is

paints

oil

of dis-

solving immediately, with the

in

boxes

Lastly

colors

in

also

and to a lesser extent in artistic watercolor painting to resolve backgrounds or graduated washes. The professional artist uses both moist watercolors in tablets and creamy watercolors in tubes. It is difficult to choose or give advice as to which one is the best. I think it depends on

creamy

of

several sizes

in

palette

that generally hold

Separate

colors

12

can

be obtained.

illustrators

skill

and what one

is

accustomed

finished product will be the same.

to.

The

118

Fig.

1

19- Jars

of liquid water-

color for professional use. especially for illustrators

These

are similar to aniline pigments,

with great strength and intensity,

and are occasionally used watercolor painting

in

artistic

for

backgrounds

tions of color.

boxes refills

of

6 or

or wide gradaThey come in 12 bottles, and

are available.

119

62

Fig. 1 20— As mentioned previously, paint manufacturers package pans and tubes

in metal boxes that also serve as palettes, but most professionals feel that the watercolor palette should be expressly made for that purpose. The two models shown in the illustration are like those most commonly used by watercolor artists, with slight variations.

V '

MATERIALS AND TOOLS

watercolor color chart As you can see, this color chart offers

8 1 colors

plus China white. Another color chart, by

Winsor

&

Newton,

offers 86 different colors

including 14 yellows, 9 reds, 11 blues, and 10 greens, you do not need such a variety of colors to paint, but in art as well as in school,

each "teacher has his preferred text."

I

use

214

1

Chromorange

and Prussian blue. The color charts present a large variety of colors enabling artists to study,

experiment, and finally choose their own spectrum of colors. As we will see on the following pages, this does not clash with the idea of a standard palette used by professional artists. Please note that here, as in all other color ranges, two to five small crosses represent a greater or lesser degree of permanence,

depending on the classification as temporary or permanent. We know that crimson, madder lakes, Prussian blue, olive green, and all yellows except cadmium yellow have a low rating on the permanence scale. This is based on

how long they last when

©•••*

215

or

the watercolor paint-

is

oil

paintings to intense light for a long time.

If you visit the National Gallery in London, you will appreciate watercolors painted over

150 years ago that have not lost the luminosity

The manufacturer's warning about how permanent colors really are is to be taken into account, but one should not worry excessively about it. of their colors.

permanent yellow light jaune permanent clair giallo permanente chiaro amarillo permanente claro

*•••

Kadmiumrot

hellst cadmium red pale rouge cadmium extra-clair vent rosso di cadmio chianssimo rojo

©•*••

rosso di cadmio chiaro rojo

tense color between the time they are applied and the moment they dry. This color can be

regained through the use of fixatives.

We will

cadmio claro

©••*«

350

)•••*

Kadmiumrot dunkel cadmium red deep rouge cadmium fonce ventable rosso di cadmio scuro rojo

)••••

220 Indischgelb

cadmio oscuro

>••**

353

Karmin

Indian yellow jaune indien giallo indiano amarillo indio

carmine carmin carminio

carmin

©*••

221

Q >•*<

355

Jaune brillant yellow

Karrninrot

light

carmine red rouge de carmin

jaune bnllant veritable giallo bnllante chiaro

rosso di carminio

amanllo brillante claro

rojo carmin

® •••• Kadmiumgelb zitron

356

cadmium yellow lemon jaune cadmium citron

madder lake light laque de garance claire

cadmio limone amanllo cadmio kmon giallo di

Krapplack dunkel madder

©•••••

madder carmine carmin de garance carminio di garanza carmin de garanza

medio

(§)•*•••• 226 Kadmiumgelb dunkel

Permanentrot

©*••••

cadmium orange orange cadmium

361 Permanentrot 2 permanent red 2 rouge permanent 2 rosso permanente 2 rojo permanente 2

hell

light

clair

arancione di cadmio chiaro naranja cadmio claro

IS)*****

228

362 Permanentrot 3

Kadmiumorange dunkel cadmium orange deep orange cadmium fonce

363 Scharlachlack

Neapelgelb naples yellow jaune de naples

scarlet lake

napob amanllo napoles

lacca scarlatta laca escarlata

Neapelgelb

(2

)***

d ***

laque de garance ecarlate

giallo di

230

d )***

permanent red 3 rouge permanent 3 rosso permanente 3 rojo permanente 3

(!)••••*

229

1

permanent red 1 rouge permanent 1 rosso permanente 1 rojo permanente 1

cadmio scuro cadmio oscuro

227

Q )***

360

cadmium yellow deep jaune cadmium fonce

Kadmiumorange

;•*«

Krapp-Karmin

amanllo cadmio medio

amarillo

deep

359

mittel

cadmium yellow middle jaune cadmium moyen giallo di cadrruo

lake

laque de garance fonce lacca di garanza scura laca garanza oscura

cadmio chiaro amanllo cadmio claro giallo di

225

©**

358

hei

cadmium yefiow light jaune cadmium clair

Kadmiumgelb

)•**

hell

lacca di garanza chiara laca garanza clara

)•••••

224

Kadmiumgelb

Q

Krapplack

arancione di cadmio scuro naranja cadmio oscuro

($)

++++

365 Zinnoberrot

rotlich

vermilion vermilion vermiglione

naples yellow reddish jaune de naples rougeatre

napob rossasrro amanllo napoles rojizo giallo di

Bermellon

Los numeros

The figures Las chifrres Oat Zahlan

1

2 y 3 indicsn el grupo de cada precio 2 and 3 indicate the pnce groups

1.

1

.

1

.

.

2 at 3 indiquant las groupas da pru bemchnen die Preisgruppen

2 und 3

This color chart has been reproduced and published with special

permission from the firm of Schmincke.

64

hell

cadmium red light rouge cadmium clair ventable

permanent orange orange permanent arancione permanente naranja permanente

brilliant

©••*.

Kadmiumrot

permanent yellow deep jaune permanent fonce giallo permanente scuro amanllo permanente oscuro

Echtorange

cadmio palido

349

Echtgelb dunkel

,

)••**

Q )•••<

348

permanent yellow middle jaune permanent moyen giallo permanente medio amanllo permanente medio

218

(2

permanent rose rose permanent rosa permanente rosa permanente

Echtgelb mittel

giallo di

One must take into account the fact that watercolors lose between 10 and 20% of their in-

discuss this later on.

346 Echtrosa

Echtgelb hell

217

)••** tief

permanent red deep rouge permanent fonce rosso permanente scuro rojo permanente oscuro

223

exposed to direct light for some time. Needless to say, no one exposes watercolors ing

345 Echtrot

chrome orange chrome orange veritable arancione di cromo naranja cromo

216

three classic blues: cobalt blue, ultramarine,

•••

(bleifrei)

©*•**

MATERIALS AND TOOLS

©••*•*

480 Bergblau mountain blue bleu de montagne blu di montagna azul

©••••

481

©•••••

650 Englischrot dunkel deep

green earth

english red

terre vert terra verde

rosso inglese scuro

tterra

montana

©•••*•

516

Griine Erde

rouge anglais fonce rojo ingles oscuro

verde

©•*••

517

©•••••

651

Colinblau

Griinlack hell

Goldocker

cerulean blue bleu ceruleum veritable

green lake

golden ochre ocre or ocra oro ocre dorado

light

laque vert clair lacca verde chiara

blu celeste azul celeste

laca verde clara

©•*••

483 Echtviolett permanent violet violet permanent viola permanente violeta permanente

phthalo blue bleu phthalo blu phthalo azul phthalo

©••••

485 Indigo indigo indigo

©••••

519

yellow ochre 1 ocre jaune 1 gialloocra 1 ocre amarillo 1

©••••

520 Hookersgriin

©**+** unit.

cobalt blue unit, bleu de cobalt imit. blu di cobalto imitazione azul cobalto imit.

©*•••* Ocker

2

yellow ochre 2 ocre jaune 2 gialloocra 2 ocre amarillo 2

1

©••••

521

©•••••

657

Ocker gebrannt

Hookersgriin 2

Lichter

hooker's green 2

burnt yellow ochre ocre jaune brulee giallo ocra bruciato ocre ama. tostado

de hooker 2 verde di hooker 2 verde hooker 2 vert

(§>•••••

487 Kobaltblau hell

1

656 Lichter

1

1

de hooker 1 verde di hooker verde hooker 1

486 Kobaltblau

Ocker

Lichter

phthalo green vert de phthalo verde phthalo verde phthalo

vert

indigo

©•••••

655

Phthalogriin

hooker's green

irtdaco

©*****

653 Griine Erde gebrannt burnt green earth terre verte brulee terra verde bruciata tierra verde tostada

laque vert fonce lacca verde scura laca verde oscura

© *••••

484 Phthaloblau

©*•••

518

Griinlack dunkel green lake deep

©••••*

522

©•••

658

Kobaltgriin hell

Madderbraun

cobalt blue light bleu cobalt clan veritable blu di cobalto chiaro azul cobalto claro

cobalt green light vert cobalt clair verit. verde di cobalto chiaro verde cobalto claro

brown madder laque de garance brun-rouge

488 (§)••••* Kobaltblau dunk el

523

cobalt blue deep bleu cobalt fonce veritable blu di cobalto scuro azul cobalto oscuro

Kobaltviolett

dunkel

cobalt violet deep violet cobalt fonce veritable viola di cobalto scuro violeta cobalto oscuro

©*•••

525 Olivengriin

magenta magenta magenta magenta

©••••

491

Pariserblau pans blue bleu de pans blu di pangi

pans

(Dirk**

492 PreuBischblau

©**

493

Siena gebrannt

©••••

662 col. sepia brown tone teinte sepia tinta di seppia bruciata tinta sepia

©*•*•

©••••

526 Permanentgriin hell

663

permanent green bght vert permanent clair verde permanente chiaro verde permanente claro

sepia

©*••**

527 Permanentgriin dunkel permanent green deep vert permanent fonce verde permanente scuro verde permanente oscuro

Prussian blue bleu de prusse blu di prussia azul prusia

©•••••

661

Sepiabraun

olive green vert olive verde oliva verde oliva

viola di

raw sienna terre de sienne

burnt sienna tene de sienne brulee terra di siena bruciata siena tostada

de mai verde primavera verde primavera

Magenta

azul

©••••

524 Maigriin may green vert

©•••

490

©••••

528

Sepiabraun brown

brun sepia seppia bruciata sepia

©•••••

664

de grain brun brown pink stil de grain brun Stil

di grain

stil

grano marron

©•••••

665

de grain

Purpurviolett

Preufiischgriin

Stil

Prussian green

green pink

de prusse verde di prussia verde prusia

stil

pourpre

vert

viola porpora violeta purpura

494 Ultramarin feinst

©••*••

Saftgriin 1 sap green 1

outremer extra-fin

vert foret

blu oltremare finissimo ultramar fino

verde bosco 1 verde bosque

©•••••

495 Ultramarinviolett ultramarine violet violet

outremer

viola oltremare violeta ultramar

496 Ultramarinblau .

©*••••

bleu outremer blu oltremare azul ultramar

497

viola luminoso violeta luminoso

stil

)••

de grain

vert

vert

di grain verde grano verde

666 Terra Pozzuoli

©•••••

pozzuoli earth

1

terre

530

de pouzzoles

terra di pozzuoli tierra pozzuoli

1

©••••

©*••**

667

Saftgriin 2 sap green 2

Umbra

vert foret 2

terre terra

natur raw umber

verde bosco 2 verde sa via 2

ultramarine blue

Violett feurig glowing violet violet lumineux

stil

©••••

529

ultramarine finest

brno

stil

purple violet violet

©•••••

660 Siena natur

naturelle terra di siena naturale siena natural

vert cobalt fonce verit.

verde di cobalto scuro verde cobalto oscuro

©•••••

489

©•••••

Kobaltgriin dunkel cobalt green deep

lacca di garanza bruna laca garanza marron

531

ombre

naturelle verdatre

d'ombra naturale sombra natural

©••••

©••••*

668

Zinnobergriin hell

Umbra gebrannt

vermilion green bght vert cinabre clair verde vermiglione chiaro verde bermeUon claro

burnt

©••••

umber

d'ombre brulee d'ombra bruciata sombra tostada terre terra

532 Zinnobergriin dunkel

669

vermilion green deep vert cinabre fonce verde vermiglione scuro verde cinabrio oscuro

Vandyke brown brun van dyck bruno van dyck pardo van dyck

Vandyckbraun

©•••••

65

MATERIALS AND TOOLS

commonly used

watercolors

The

British masters of the 18th century,

Coand even Turner, used a limited palette of only 5 or 6 colors. You do not really need more than that to depict what surrounds you in nature. Actually, all you need to make zens, Girtin,

new

Lemon

Permanent green*

yellow*

the appropriate mixture of red, yellow, and blue. However, let us be practical and see what other colors can enrich our colors

is

palette.

While researching which colors are most frequently used, we found that most manufactur-

Cadmium

yellow deep

Emerald green

ers sell watercolors in boxes of 17 tubes. The manufacturers answered our question and we are able to accept their choices because they know what sells. Their assortment of colors is not chosen haphazardly and most beginners start

with this same range. With time, profes-

sionals determine their

own

be adapted to their

style

will

tion. Until

explain a

Yellow ochre

Cobalt blue*

you reach somewhat

palette,

and

which

interpreta-

that point, allow

me

to

universal color assort-

ment.

The basic colors which are found in all prepackaged assortments are cadmium yellow or cadmium yellow deep, yellow ochre, cadmium emerald green, ultramaand ivory black. You just have to add some blues and a gray like Payne's gray, which to me is an indispensable color. The following is a list of the most commonly used colors: red, alizarin crimson, rine,

Raw umber*

Ultramarine

Sepia

Prussian blue

Cadmium

Payne's gray

red

WATERCOLORS COMMONLY USED Lemon

yellow*

Cadmium

Alizarin crimson

122

Fig.

122- Following

line of

reasoning,

a logical

we

believe*

66

Cobalt blue*

Ivory black*

Raw umber*

Ultramarine

even

Sepia

Prussian blue

further, the colors indi-

cated with an asterisk could

be eliminated: lemon raw umber, permanent

also

those most commonly used by the profession-

yellow,

al

artist.

To

limit

the

number

Emerald green

Yellow ochre

that this selection of colors rep-

resents

yellow deep

Permanent green *

green, cobalt blue, and ivory black.

Cadmium

red

Alizarin crimson

Payne's gray Ivory black*

MATERIALS AND TOOLS

tempera colors (gouache) or tempera colors have a great similarity to watercolors and therefore merit a discussion in this book. Temperas are diluted with

Fig. 123— Tempera paints or gouache are made up of the

water and you need the same type of brushes and paper as you do with watercolors. The

bound

Gouache

main difference between temperas and watercolors

is

that the

former has a larger quantity

same

ingredients

color,

but the pigments are

glue,

is

and the

lighter tones are obtained

by

glue

water-

and

the

tones are obtained by the admixture of white pigment lighter

Tempera paints produce a matte, opaque finish, making it

of pigment or colored earth, the binding agent

with

as

possible to paint light colors

over dark. They are sold in metal tubes or small glass jars.

the admixture of white pigment.

Because of

this

difference

we observe

the heU

following:

Watercolors have a distinctive transparency.

Temperas are characterized by their opaqueness.

Temperas

are opaque, thick, covering paints

that allow

you to use light colors over dark you dilute temperas with a lot of

colors. If

water, the resulting product

is

somewhat

simi-

I would like to emphasize major characteristics of temperas are their opaqueness and their matte finish. They remind one of some oil paintings.

lar to

watercolors.

that the

123

124 Fig.

124- Joseph

Mallord Wil-

liam Turner Petworth Interior.

sketch on gray paper. British

Museum. London

v*..

_-:.

67

MATERIALS AND TOOLS

the palette Most of the

come

box

metallic boxes that watercolors

double as a palette for mixing colors. These boxes are made of iron enameled in white. They have a series of concave divisions that are square or rectangular and in also

allow you to mix the different colors separately. In some boxes you can separate the tray with the paints and this leaves you with a

mixing palette of two or three trays. One of a hole for your left thumb or a ring that allows you to hold the palette with your left hand while you mix colors with your right hand. Professionals normally use palettes like the one shown in fig. 63. There are two styles, each suited to a different type of watercolor. This allows you to use the palette most appropriate to moist watercolors, tablets, or creamy tube watercolors. In case you do not have any palette a white china plate will do. Many artists

them even has

Fig.

125- Miniature

also use an "auxiliary palette"

which is a piece of white watercolor paper where they try out the desired effect before applying it to the painting. all color charts and many of these palette boxes have a thick white, similar in texture to temperas, called China white. What is the reason for and use of this white?

As you know,

After

all,

the basic principle of using watercol-

work with the paper's white. This question must remain unanswered. There may or

is

to

be some unorthodox

small white wildflowers. But

used— it

is

measures

3.5"

X 4.5");

it

your reading of

to

it

should not be

As you will see from book there are other

this

methods that can be used without breaking the rules of good watercolor painting.

Fig.

126— Palette box

with dry

watercolor cakes of the grade

and a

Underneath

called scholastic

9X11cm,

the tray of colors there

can be carried

that

can be used

box with the

in a pocket with a small pad of paper to do notes while travel-

ing, in

it

like cheating!

small jar for water (the closed

case

use

reflections, or for the white of a ship's ropes or

set with

case, palette box, brush

who

artists

create a certain play of light in profiles or

were a

left

to

is

a ring

support the

thumb as

if

it

palette.

the country, etc.

126

h

k"^

IT i

.

m Oniwk

iUnnobwi

feinc Studieu- tquitrellfnrbei]

:<>m

DECK

I

«?iss

I

rrv.ilt.s.hl.1,

m 68

MATERIALS AND TOOLS

127- Large

thumb

palette box 24 pans of moist watercolors The tray with the colors

the palette with the

can be separated from the metal box. leaving more space to mix colors. In the center tray a rivet (A) can be seen which secures the ring for holding

the box and the set can be

Fig.

with

When

the session

tray with paints

is

left is

over, the

replaced

in

folded and closed

watercolor.

box can be used as a palette. It has a hole through which the left thumb can be slipped to hold

Fig.

128- Palette box

The tubes can be

taken out of the box and the

it.

with 12

tubes of professional quality

-^.

127

MOPiBPH 128

Jchmincke

II

69

;

MATERIALS AND TOOLS

moisteners, masking

fluid, fixatives,

and more 129

u 1

ALCOHC

oxgall

refined

fl«

COLOUR

flWWISH

96^

3SEE.1'

it botuf puntie

ochs«ng»lto gerrtnigt

"wt°>:ltd

oss«g»l B«iu»v»rd

if

WATER COLOUR MEDIUM No 2 57 il

T

^

The only liquid LhaL is absoluLely necessary for working in waLercolor is Lap waLer. There are, however, a few liquids, such as moisLeners and asLringenls, LhaL improve Lhe qualiLy of Lhe waler you will be working wiLh. There are also producLs such as masking fluid LhaL allow you lo achieve special effecls.

graphs

describe

Lhese

The following paraproducls and Lheir

characLerisLics.

Masking Fluid: This producL is especially designed lo sel off Lhe small areas LhaL creale a special brilliance, a Lwinkle, or a linear form such as a Lree Lrunk or a Lhin branch. You apply iL wiLh a brush and allow il to dry. This creates a walerproof film which you can laLer remove wiLh your finger or a regular eraser. To apply Lhe masking fluid, use an old brush LhaL can be cleaned wilh elhyl alcohol. Open spaces can also be sel off prior lo painting by using white wax.

Glycerine:

When you paint outdoors on a very

sunny or windy day your watercolors will dry than expected. This problem can be avoided by adding some glycerine to your faster

method of prolonging the drying time should also be used when you need the water. This

painting to dry slowly.

96° Alcohol: Sometimes you will find that you need to speed up the drying process. This usually happens on wet, rainy days or if you are painting by the seashore. The solution to this problem is to add some alcohol (96 proof) to the water. It is known LhaL 18Lh-cenlury British artists added cognac or gin to their water inslead of alcohol. This sorL of makes you wonder as Lo whal il is Lhey actually did at

Monto's school. Varnish: Almost

all

manufacLurers of walercol-

ors also produce a special varnish. This prod-

Medium Number 2: This

is

a solution of acidi-

gum that should be added to your water with an eyedropper. It will eliminate all oily Lraces from lhe waler and give the colors greater intensity, shine, and transparency. fied

Refined Oxgall: This is a moistening product that you mix with lhe water to increase the

power and flow of the colors. Pour a small amount of the refined oxgall into half a liter of water.

clinging

70

ucL

is

used by some

arlisLs lo prolect

brilliance lo their painlings.

Many

and add

profession-

using varnishes because watercolors should have a matte finish. I know that some artists add Lhe varnish in layers and only in certain areas, particularly in dark colors als

do not believe

in

so Lhey will appear less inLense and offer less

Lhey dry oul. We do recommend Lhal you do nol use many layers of varnish Lo avoid giving Lhe waLercolor the shiny conlrasl

when

finish of a plaslic-covered prinl.

Fig.

129— Here

auxiliary

is

a series of

products for watercol-

From left to right: masking fluid for setting off open spaces prior to painting; b) medium to prepare the water better; c) refined oxgall, as a moistening agent; d) glycerine to mix with the water and slow the drying of the paint; e) alcohol of 96 to mix with the water to speed drying f, g, and h) varnish for the watercolor once it is completed. From a professional point of view, the masking fluid, medium, and watercolor varnish are the most essential. or painting.

a)

MATERIALS AND TOOLS

water There

is

no uniform

criterion

among artists on

how many

(one or two) or what type (glass or plastic) water jars should be used when painting outdoors or in the studio. Some artists use two jars, the first to loosen the paint and the second to wash the brush. Another school of thought believes that when you work with one jar you are "dirtying" the brush and this will ultimately help you by making your colors blend better. Artists who work outdoors like to use plastic jars for obvious reasons. They do not want to risk breaking a glass one. Personally, I am no lover of plastic and always use glass containers.

Regardless of the material you choose, the jar

must hold between

half a

liter

to a full liter (a

and have a wide mouth. Marmalade or mayonnaise jars fill all these pint to a quart) of water

130

requirements. It is

quite useful to have a

blow dryer

in

your

studio to quickly dry a specific area of your painting. How can you solve this problem outdoors where there are no electrical outlets? Many artists carry cigarette lighters with them and place the flame near the wet section to

make

it

dry

faster.

130— Here are some suita-

Fig.

ble containers for the water:

glass for the studio to carry

age.

In

and

plastic

along and avoid break-

either case, the contain-

er should hold at least a

water and have a wide mouth. (quart) of

it

liter

should

Fig. 131-The liquids on the preceding page, auxiliaries to watercolor painting, must be

mixed with water with the exception of the masking fluid, which is applied directly to the

131

watercolor with a brush. For mixing with water, it is a good idea to have an eyedropper on hand and to establish for yourself the exact quantities

needed.

Fig.

1

32- When working in the a method commonly

studio,

used by professionals

to

speed

the drying of the watercolors while working is to use an electric

hairdryer

on the wet area

132 71

MATERIALS AND TOOLS

brushes for watercolor painting The brushes used for painting watercolors have a wooden handle covered with shellac to

Fig.

which a metal band is attached. This band serves to hold the brush itself in place. Brush quality is determined by the animal hair

The

used.

following types are available:

133

Mongoose hair brushes

Ox hair brushes Japanese deer hair brushes Synthetic brushes

best brush available

is

made

with sable

hair. The hair comes from the tails of Kolinski sables that live in Russia and China. The high price of these brushes is due to the fact that it is

make them. In order to some manufacturers sell a

very difficult to

lower the price, brush made from a mixture of red sable and ox hair (which comes from the ox's ears). One step down in quality we have mongoose, squirrel, or ox hair brushes. The Japanese round brushes are excellent for painting oriental style watercolors called Sumie, but they are no better than other brushes. There is another Japanese brush, fan-shaped and perfect for painting rays of sunlight and wide graduated washes, that is very inexpensive. In the last few years there have been many synthetic brushes. These are quite inexpensive and well shaped, but cannot compare with the qualities found in sable hair brushes. The sable brush has sponge-like characteristics; it can absorb water and color, bend to the slightest manual pressure and yet maintain its perfect point.

Watercolor brushes

come

Fig.

134— Here are some addi-

brushes to complement in the preceding figure a Japanese-style hake brush, a tional

those

sponge in the shape of a roller, and a small natural sponge These three items are necessary for resolving backgrounds and gradated washes. The sponge, which by the way must be natural and not synthetic, is

also used to blot water

occasionally, to paint.

in different widths

and are numbered from 00 to 1 to 2 ... up to 14 for sable hair brushes and 24 for ox hair brushes. These numbers are usually printed on the brush handle. The handle with the metal band measures about 20 cm in length.

To

you need three sable 12, and 14 and a size 24

paint in watercolor,

hair brushes in sizes 8,

ox hair brush. We also recommend the use of a wide Japanese brush, a synthetic round sponge and a small natural sponge.

'

134

72

is

the

minimum

brushes, nos. 8. 12. and 14. and an oxhair brush, no 24

Sable hair brushes

The

133— This

assortment of brushes needed for watercolor painting; 3 sable

or,

MATERIALS AND TOOLS

Fig.

135— This

picture

shows

a

complete assortment of sable brushes, from numbers 00 to 10. plus 12 and 14.

Fig. 136— Other kinds of brushes available besides sable include the following, from left to

right:

1

and

2:

Wash

brushes,

typically French, of squirrel's

backgrounds and gradations. 3 and 4: Japanese brushes with bamboo handles and deer's hair 5 and 6: Round synthetic fiber brushhair, suitable for

es for students 7: Mongoose hair brush, stiffer than sable 8 Special sable brush for drawing fine lines. 9:

Fan-shaped

boar's hair brush for rubbing

and scraping 10 and

11:

Ox

brushes used by many professionals, especially the hair

135

higher-numbered ones. 136

8

i

73

MATERIALS AND TOOLS

brushes: their use and care In watercolor as in oil painting, there are two ways of holding the brush. The first is just like a pencil only higher up and the second is with the handle in your fingertips as can be seen in figs. 137, 138, and 139. In both cases the distance is greater than the one normally used with a pencil, but it allows you to move the brush more freely, lengthens the arm, and lets you look at the painting from afar. We have already said that brushes are expensive but with proper care a sable hair brush can last for years. The following rules should be

137. 138.

Figs

illustrations

carefully observed:

way

Never allow your brushes

to stay in water for

to hold the

When

you are done using them wash your brushes carefully, with soap and water if neces-

sary.

Rinse them well and drain out the excess water.

Then with your tween pursed

fingertips, or better

lips,

still

be-

the proper brush while

way. similar to the

way

one holds a pencil but farther from the brush end to make hand movements easier and to view the painting from a bit more distance so as to widen the angle of vision and appreciate the progress of the work as a whole better. Note in fig 139. another

brush

shape the point and allow

139- These

painting watercolors. Figs. 1 37 and 138 show the most com-

mon

hours.

show

is

way

to hold the

with the handle

in

the

fingertips, facilitating

and painting

drawing

vertical or

diago-

way. characteristic of the art of drawing or paintnal lines This

ing with pencil, charcoal, pastel,

wax. etc

artist's

.

manual

technical

increases the dexterity

and

ability.

it

138

to dry in ajar with the hairs facing up.

When

you are painting outdoors do not carry your brushes in your pocket or throw them in a box with other materials, a procedure which would be fatal to the hairs of the brush. Carefully roll

other

the brushes in

stiff paper

some cardboard

that will keep

its

or

shape, so that

the brushes are immobile and the hairs protected from damage.

Fig.

140— This photo shows

how

professional

mo

artist Guiller-

Fresquet holds the handle

almost perpendicular to the paper's surface

140

74

139

137

MATERIALS AND TOOLS

other materials

141

141 — In addition to basic

Fig.

materials such as paints, brushes,

and paper, the watercolor

artist

tools

uses a series of

shown

that are

picture

auxiliary this

in

Their description and

uses follow

1

:

A

regular

no

2

lead pencil for watercolor drawing,

or

a

higher quality

HB

and

triangles

med 1

gum-

5: Roll of

cm

tape, 2 or 3

(1" or

1/2") wide for mounting

and

the painting before beginning

gouache

in

a

like

70 cm (20"

to

30")

With a metal ruler, any type of blade can be used for cutting without danger of ruining the ruler 4: T-square (not shown)

easily

scratch and

light-colored,

the text

Tissues to blot the brush

before and after rinsing and to water,

or

small or large areas.

to

while the painted area

moist

(this

make

type of brush

still

damp,

on occasion to draw lines or emphasize forms during the

is

im-

final

stages or finishing tou-

ches

of a watercolor. 16: India

to dry

same use

colored areas. 14: Razor blade

when

pecially for blotting or squeez-

finished,

leaving

Thumbtacks and pins stretch the

it

thick,

thus

avoiding the laborious tradition-

mounting

and

stretching

damp

paper,

gummed

tape, etc

8.

A

stick of

white

as the tissues, es-

ing out the brush full

of water or paint.

when 1

1:

it

is

Plastic

dish and moistened synthetic

sponge to remove some color

or

of the

moisture from

the

brush by holding it against the sponge. 12: Brush with a special beveled plastic handle to

to scratch

paint, leaving light-

and open spaces

when the watercolor has 1

5:

ink in stick liquid, in

form

(it

a normal

ing with the

pen

Utility knife for

may also be

jar) for

draw-

or reed. 17:

cutting paper

with the aid of the metal

ruler.

dried.

18: Large scissors for cutting

Holder and nibs for drawing

paper. 19: Container of rubber

The following items should also be mentioned, although they do not appear

with India ink

in

artist

still

ported from Japan). 13: Cotton swabs for use in freshly painted areas, while

by the professional

is

spaces

and absorb

down and paper when is

with

draw or open

left

will

10: Roll of paper towels, for the

sharp. 7:

al

be

The tape is positioned frame, and comes off

to work.

to hold

to

9"

later in

moisture,

quality to clean with. 3: Metal

50

be explained

absorb

the edges perfectly clean and

ruler

to set off areas to

blank before painting, as

stretching the paper as explained in fig. 110 to 113.6: Roll of adhesive tape, used to frame

Normal white eraser of soft plastic and one of dark gray plastic, or one of similar pencil. 2:

wax

bly

the photo: reed, black

point,

and black

point marker,

cement

or special glue to glue

paper to cardboard or

wood

before or after painting

ball

or gray fine

used interchangea-

75

MATERIALS AND TOOLS

other materials Watercolor painting demands a great

many

and tools that the artist must carry with him whenever he paints outdoors. It therefore becomes important to have a box, case, or bag where one will be able to carry materials

Fig. 142- Beautiful case of varnished hardwood, with metal catches and decorations, for

carrying paints, brushes, cera-

mic

palettes,

ials

and

and other mater-

tools

when

painting

out-of-doors.

colors, brushes, palette, sponge, paper towels, jars, liquids,

and a long list of other things. need many manufacturers

In view of this

produce elegant cases with basic materials, but which, despite their high prices, do not entirely solve the problem. The solution would be a box or case for oil painting which you can adapt for using with watercolor, or an easel with a case incorporated such as the one seen in fig. 101, or the special one in fig. 142, reproduced here through the courtesy of Ceferino Olive, a professional

watercolor

artist.

Fig.

143— Typical case

paints,

adapted

for

oil

for carrying

watercolor materials and tools.

Fig. 1 44— This is a box designed by the professional water-

colonst Ceferino Olive.

It

sures approximately 75

meaX 52

cm (30"X21"), making

it

possible to carry watercolor paper, a piece of plywood, a folding easel with tripod, plastic

to

water

paints,

jar.

in

palette,

and

a

addition

brushes,

sponge, etc

PLYWOOD

SHEET OF PAPER

PALETTE FOR WATERCOLORS

PLASTIC

WATER JAR

JAR FOR

WATER

TRAY FOR WATERCOLORS & BRUSHEJ

FOLDING STOOL

SPONGE

76

FOLDING EASEL WITH TRIPOD

the foundation ofwatercolor

"There are laws of proportion, of chiaroscuro, and of perspective that should be known in order to paint. If one does not have this knowledge, the struggle will always be sterile, and one will never be able to produce."

Vincent van Gogh (1853-1890)

ftB

....

....

"

"

DRAWING: THE FOUNDATION OF WATERCOLOR

cube, cylinder, sphere Peter Paul Rubens, aside from painting close

thousand beautiful paintings, and producing thousands of drawings and sketches, also wrote a book. The book was titled: Treatise of the Human Figure, and in it, Rubens dictated a to a

definitive

norm

the art of drawing.

in

Rubens

said:

"The basic structure of the human figure may be reduced to the cube, the circle,

and

the triangle.

Almost 250 years

later,

Paul Cezanne reiterit to include all

ated Rubens' idea, amplifying subjects in nature.

He

told

it

to

Monet,

to

your hand, your face, a figure, a landscape, everything. Because these and all forms may be fitted into and structured upon these "simple figures." May I request that you draw these basic figures. In doing so, you will be practicing all the problems in the art of drawing, namely: the perspective of the forms, the problems of dimensions and proportions, chiaroscuro (the effects of light and shadow). After having finished this study, try to draw perceived or imaginary shapes starting out from the cube, the cylinder, and the sphere. I have done it here as if I were just beginning, remembering Rubens, and Cezanne. I can assure you that,

Pissarro, to Vuillard, to Picasso, to everyone;

being so simple, the experience

he put it in writing in a letter to his friend Emile Bernard the painter. Cezanne told him:

icent.

in April 1904,

is

Fig.

146— As Cezanne said,

the forms of

all

"all

objects can be

reduced to cubes, cylinders, and spheres." To draw these basic forms with a lead pencil or charcoal is, wihout a doubt, an extremely worthwhile exercise.

magnif-

146

"Everything in Nature is modeled after three

fundamental shapes: the der,

and the sphere.

how

It is

cube, the cylin-

necessary to learn

draw these simple figures so that afterwards one will be able to do whatever one wants.

This

is

to

right, it's true.

draw a cube (or rectangular prism), a cylinder, and a sphere perfectly well, you will be able to draw everything you are If

you are able

to

capable of seeing: the table, the chair, the glass.

147 Fig.

147-The cube

or rectan-

gular prism helps indicate a linear or oblique perspective, the rules of which we will review in the following pages.

For the

how

to

moment, let us review draw a cube from an

oblique perspective.

A

First

draw the

vertical line

representing the edge nearest

B From the end of this line, draw a slanted line representing the horizontal plane near-

you.

est you.

C Next, draw the "B."

78

lateral

plane

D.

Draw

the top plane "C."

draw these lines as if were made of glass, to check that the whole cube is drawn well. E. Finally,

the cube

Fig. 148- All objects can be constructed or "fitted" with a simple square, rectangle, cir-

cle

and

triangle. In

most,

if

not

cases this initial structure or can basically be formed with

all. fit

a

cube

a rectangular prism, a

cylinder, jr a sphere. This

has

the advantage of putting the subject in perspective right

from the

drawing, and giving it the third dimension: volume. at

the

start of

same time

"

DRAWING: THE FOUNDATION OF WATERCOLOR fit,

dimension, proportions

John Singer Sargent, the virtuoso American portrait painter, renowned for his extraordi-

which we may "fit" the model (fig. 150). Now we compare some basic dimensions: the height

nary watercolors, told the following basic prin-

of the small pitcher in relation to the total height of the model (A-A); the width of the flower on the upper right corner compared to the total width (B-b-B) of the picture. try next to reduce and condense the box of the model. Assisted by the above calculations, we

ciple repeatedly to his students at the

Royal

Academy:

We

"You must always cultivate the power of observation. This

is

-

which conforms to these calculations (fig. 151). Next we imagine vertical and horizontal outlines which locate the shapes, distances, and proportions within the larger form (fig. 152). And at the same time, we study the spatial shapes of the empty spaces as in A, B, and C of fig. 153. Thus, we have taken on the find a shape

the key to constructing: the ability to

calculate dimensions

and proportions

in

order

word: calculate, observe, compare, resolve. Let us take the example of the two roses and small pitcher drawn on the following page. With the aid of a pencil, the handle of a brush or a ruler, we first calculate the total height and width of the model (fig. 149). Realizing that, in this case, the height and width are practically the same, we draw a square, into to draw. In a

problem, as Sargent described it, observing the model, calculating, and comparing.

149

149— The model's

Fig.

basic

"fit" is determined by measuring and comparing its height with its width. These

structure or

measurements are taken facing the model, arm extended, holding a pencil or brush han-

is

your hand.

First

the pencil

held vertically, to

measure

dle

in

the height, then horizontally to

measure width. Finally the relabetween the two measurements is calculated

tionship

—for example, they may both be the same, or one may be double the other.

Fig

150— Measuring

ject

with a pencil or brush

makes

it

the sub-

possible to find

proportions, facilitating

150

151-Here.

Fig

more

I

its

its "fit."

152

can draw a

definite structure or

fit

within the rectangular box.

52— In

any model, can be imagined that pass through Fig.

1

this or

vertical or horizontal lines

basic or reference points

and

allow you to situate and proportion forms, filling out the

draw-

ing.

Fig 1 53- Another aid for estimating sizes and proportions is to try to imagine solid shapes in the open spaces (A. B. C).

These are like molds that allow you to situate and define the actual shapes of your subject.

151

80

153


Fig.

to

154-

It

is

like this

one

easy

reference lines and points, and

model

by trying to "see" shapes corresponding to the empty

certainly not

reduce the shape to the

of a

form

of a

cube, but in this as in all cases the drawing can be started with

an

overall box.

square or rec-

measured before-

tangular,

hand with a pencil or brush as explained

form

is

in fig.

1

49. This basic

then further broken

down into smaller boxes inside the

first

spaces, as explained

in fig. 1 50 153 above. Studying the composition, dimensions, and proportions of examples like this one is a good exercise to keep your ability to draw and

to

paint with watercolors sharp at all

times.

one. with imaginary

154

81


ight

and shade: tonal values

Camille Corot, the artist and teacher, instructed Pissarro: "You are an artist, you don't need any advice save this: You must study value above

we may

represent the third dimension, that is the volume of forms, in drawing. One has to know the effects of light

to variation in values,

and shade— clarity, brilliance, shadow, projected shadow, chiaroscuro, and reflected light (fig. 155)— in order to evaluate tone. And one has to observe and compare carefully and con-

at this

my hand,

drawing

as a study

and shade values, and note

of the effects of light

and of tonal a

limited

following effects:

LIGHT: illuminated areas where the color is the model's

A.

own

"local" color.

obtained

resolved

spectrum of tones and that the volume of the objects depends on the with

BRILLIANCE:

B.

through contrast. Remember that "a white is whiter the dark" er the tone surrounding it is

ACCENT: darkest part of the projected shadow, between

E.

CHIAROSCURO: intermediate

zone

between

evaluate

is

is to

the

penumbra

or cast

and the reflected

shadow

light.

D. REFLECTED LIGHT: on the extreme edges of the shaded part. It is accented when there is

a light-colored object next to

CAST SHADOW: the whole shaded area opposite the illuminated section. F.

PROJECTED SHADOW: shadow that appears on G.

surface that the body

on

the subject.

(I

have not drawn

to mentally classify the tonali-

and hues of a form, constantly comparing order to determine which tones are more obscure, which most clear and which are the intermediate tones. On this theme there is a practice procedure you may carry out right now: build yourself a cylinder out of thick white cardboard or Bristol board and draw your own left hand holding

ties

in

the cylinder, as I have done here, myself. Study the effects of the light and shadow, evaluate how the tones model the forms.

—F

Fig. 156- To draw this hand, your hand, situate the cylinder in a vertical position and then

find

similar distances,

such as A-A. and reference points and lines that allow you to

estimate and resolve the

subject's proportions

mensions.

82

and

di-

illumi-

C.

compare.

try to

the

nated area and the area in shadow. The term chiaroscuro can be defined as light in shade.

order to achieve a perfect evaluation.

To evaluate

To

155- Look hand,

that the values are

all."

Values are tones; different tonalities are promoted by the effects of light and shade. Thanks

stantly, in

Fig.

of a

155

the

the

is

resting

it

here).


doing a quick sketch Here

is

a practical exercise, especially design-

ed for the watercolor painter, the resolution of which demands— from my point of view— remarkable technical understanding and drawing

would

it

yourself paint

ability. I

Fig. 157— Your left hand may be the best model for this freehand sketch. Try it; is an excellent exercise for people like

like

you

to

draw

rapidly,

in

who want

to learn to

watercolor.

without pre-

vious preparation, without outlines, boxes or

other structures, using a permanent

medium

such as ink which doesn't allow you to go back and rework or erase. A fine point marker or a black pen would be fine. Draw one or several objects seen from different angles— one of your hands, for instance— and resolve the drawing linearly, without lights or shadows, using only a minimum of lines to represent the basic shapes and the most important details of the model. I know that it's not easy, but I believe that it is useful and applicable if you keep in mind the reasons I will explain to you on the following page.

83


a special exercise assume that you are at home, sitting at your work table, or in your reading armchair, perhaps in your study. At any rate, may I ask you to look up in front of you and consider the possibility of drawing whatever you see before you. It may be necessary for you to go to another room in the house which offers more interesting drawing possibilities. At any rate, once you have found a setting which motivates you, draw it in a linear manner, eliminating light and shadow, and using a black pen. I created this exercise at my work table in order to practice and explain how a drawing should be done from which you will paint a watercolor. Such a drawing should, first of all, be accurate and detailed, so that later, while painting, you will not get lost. When painting, I

158

should no longer be necessary to construct, so you may give all your attention to achieving hues, tonalities, and colors, that can make the watercolor into a masterpiece. In the second place, the foundation drawing of a watercolor should be linear, without shadows or tones. But why? Well, because the interplay of lights and shadows should be explained with colors, not with the pencil. And this is due—let's not forget this—to the fact that watercolor is transparent. It is not difficult to imagine what would happen if we were to draw the shadows of this exercise in blacks and grays using a lead pencil and then paint on top of them. All the colors would be negatively affected, acquiring a gray and dirty tendency. (Unless one wishes to achieve this effect.) It should be pointed out that this exercise is simplified for practice purposes, but in actual practice, a drawing for a watercolor should be done with a lead or graphite pencil, HB or B, in order to make a less intense outline. it

84

Figs.

at

158,

159— In my

my work

this linear

table.

I

studio,

have done

drawing especially for watercolor

appropriate

painting— a detailed drawing, without the play of

shadows later

that will

light

and

be added

with the watercolor paints.


85

.


the right perspective The themes of the watercolorist are often tered around streets

and

cen-

plazas, buildings, sub-

which the perThe great English masters of the watercolor were experts in perspective. But after all, we are artists, not architects, and we are capable of viewing and urbs,

and sea

(This

The

ports, places in

spective plays an important role.

capturing the perspective by ing only the basic rules

means of master-

which may be summa-

rized as follows:

As you know,

there are three kinds or classes

of perspective:

last

kind

is

practically not

painting and will not be

vanishing point

used

Parallel or vanishing point

here.)

the place where the

is

lines or perpendicular intersections of the

mod-

meet. These vanishing points are always located on the horizon line, which is just at the height of the viewer's eye, whether standing, sitting, or bending. In the parallel perspective the single vanishing point and the viewpoint coincide in the same spot on the horizon. In oblique and aerial perspective, the vanishing points and the viewel

point are independent, although they 1

in artistic

commented on

in

the

same horizon

still

meet

line.

perspective. 2.

Oblique perspective or perspective with two vanishing points.

3.

Aerial perspective or perspective with three vanish-

ing points. Figs

160.

161— Effects

of

lin-

ear perspective, with a single

vanishing point that coincides with the viewpoint, applied to

both cubes and to the inside of (left) and to the view

a tavern

of a street in

an old neighbor-

hood.

160

161

Figs 162.

163-Two examples

of side perspective with

two

vanishing points and a conven tional viewpoint, applied to

two

cubes, an urban landscape (left),

and a

classic

room

in-

terior.

163

86


Figures 160 and 161 show two examples of parallel one-point perspective. The first is applied to an interior, while the second looks at a

and 165 show the solution to this problem: an X-shaped cross with a vertical line down its center was drawn

an old neighborhood. In fig. 162 and 163, you may find two applications of

(fig.

typical street in

oblique perspective. Painting in watercolors such themes as the ones mentioned above, one often runs up against the problem of accurately dividing spaces or shapes that are repeated, such as the

spective center. Figures 164

165) in order to obtain the perspective

center.

In

figs.

166 and 167 you will find a really easy problem of dividing

solution for solving the

receding spaces which have repeated shapes, in this case, the romantic cloister of an old church.

doors and windows of a house, a line of trees on a highway, or the arches of a cloister. For an expert painter, a problem of this kind doesn't represent any major difficulty. It is solved simply, calculating by sight. But I think it's good to know that there are a series of mathematical formulations that you can use. For example, you are painting the bars of an iron gate which from the front represent a symmetrical configuration. But to draw the gate in perspective,

one has

to calculate the per-

166

-£

i*

-L

z

pCo)

Ks3I Fig.

A. Figs. 164, 165— To put spective the center of a

in

per-

model

seen from the front, is symmetrical (fig. 162) you just need to draw the figure's square

that,

or

rectangle

and then

in

Fig.

tures

166— (Right). These picshow how to divide

spaces

in

167

ing lines- located," the vertical line

A

is

From the intersection thus made, a line is drawn to the B.

With the plane and vanishdivided

in

vanishing point.

C The first plane formed by model is estimated by eye. and line B is drawn

the

the middle.

depth and perspec-

tive.

perspective

perspective center by drawing an X. find

its

D.

Draw a diagonal

point "C".

line

through

E.

From the top

of this

first

diaoonal, a second, vertical line is

drawn.

F.

And so

on,

until

the

si>

planes are depicted with depth

and perspective. 167

87


the right perspective In the drawing in fig. 168, two typical problems of the division of receding spaces are illustrated: a wall with a determined number of equal spaces within a space which is also deter-

mined, and a mosaic; both in parallel perspecseen from a single viewpoint. Note in fig. 168 schemes A and B, the solution to the first problem is found by tracing a ground line and then dividing it into equal spaces (169 A). Diagonal lines were then drawn to vanishing point E, thus determining the depth of the calculated spaces. In regard to the mosaic in parallel perspective (fig. 170, A, B, and C), it is only necessary to calculate by sight the dimension of rectangle a-b and use it as a base. We then tive,

make

a series of diagonals to the vanishing

point, tracing the quadrille ruling of scheme C,

which allows us to draw the mosaic in perspective.

168

169 A

Figs.

168.

169— Here

mula (A and

B)

is

for

the forputting

defined number of equal planes into perspective within another defined plane, in this a

case, the right side wall interior of the

E

fig

in

the

regal salon

in

168.

Fig. 170— In sketches A. B. and C of this figure, you can see the way to draw a mosaic in linear

\^—

1

—

1

perspective,

^

perspective

169 B

E

88

from

point, using a grid

a

single

drawn

in


This page shows three problems

in

oblique

172A

perspective: 1.

How to find the center of a square in oblique

perspective. 2.

How

to divide the depth of a given space

into equal parts in oblique perspective (figs.

A and B). How to draw

170 3.

perspective

(figs.

a mosaic or grid in oblique 171 A-F).

me

suggest that you try these perspective exercises on a larger scale than the figures

Let

here, at least double their size.

Fig.

172— A. The

division of a

given space into equal parts

oblique perspective

is

in

done

with the to

same formula

parallel

applied perspective (fig.

166)...

v A.

Draw^tfcifi

measuring

line

Now

next to the low&i^vertex of the

D.

plane, divide this lineîsto equal

vanishing point for^foaôTTsi§[\^\!!^. to the corner of tile C. and^kejjÔ'^Sc

parts

A

(a. b, c,

d)

and traceSine

from vertex to vertex to

you

will

establish the vanishing point

more

for the diagonals.

the

drawThse^-fcQftv-^

be able

to

draw

lines vanishing

left.

three^Ô^C^* ^^
toward

^\

Z^^z


the right perspective have studied and practiced the exercises

If you

perspective explained on the preceding

in

you

pages,

now be

will

able to understand

easily the last and possibly the most important technique of artistic perspective. It is to establish by eye the perspective offered by buildstreets,

ings,

and

Usually, in these

plazas.

cases, the vanishing points are outside the

painting or the space in which the artist

is

drawing or painting. How do you make the windows, doors, rooftops and ledges of a street or plaza like the one I have drawn in fig. 174 appear in perfect perspective? Note the solution in sketches 175 A, B, and C, and keep in

mind que

that this

for

a simple, practical techni-

is

drawing freehand, without rulers or

squares, with the

model

in front

of you.

174 175

174- Drawing

Fig.

175 A

subjects spective

like

or painting

this,

the

per-

must be judged by eye.

but there

A

that

is a simple technique can be applied that essen-

tially

solves

all

the

difficulties.

B~

Fig. 175- A. The model is framed loosely, establishing with extreme care the angle of

corner, into

a

and

this line is

specified

equal parts,

divided

number

six in this

of

Then the

vertical

C B.

"A"

is

drawn,

corresponding to the highest

90

Now we

will

step out of the

painting; at the paper's gin,

we draw

we

divide

it

also into six

example

the basic lines that vanish to

the horizon

and

equal sections.

left

mar-

another vertical

Finally,

cal, in

we draw a new verti-

also outside the drawing,

the right margin, divide

into six

equal parts, and

it

join

points

A with

A,

B with

B. etc..

forming a guide-pattern that enables us to draw all the model's parts in perfect per-

The whole and measures

spective lines

set for

of this

technique, the verticals, their

division into equal parts,

and

the sketching of a guide-patin perspective, must be done by eye and freehand.

tern

without a ruler or T-square It

•

is

artists.

truly

a

technique

for


atmosphere, contrast

aerial perspective, In addition to linear perspective, the artist should keep atmosphere, or aerial perspective, in

176- In

Fig.

the

on the

city,

sea, in the countryside, the in-

tervening atmosphere softens

mind. The author of The System of the Arts,

the contrast and definition of

objects in the

the background, which offer

Hegel, says in this regard that

all

world show a variation in color due to the atmosphere that surrounds them. The intensity of the colors is diluted with distance— this is what is meant by aerial perspective. Leonardo da Vinci, in his Treatise on Painting, followed a similar line of reasoning: real

less color

the

viewer they

Fig.

"The foreground shou'd be finished

in a clear

and precise manner; the middle ground should be equally complete, but in a more vaporous way, more diffuse; and so on, depending on the distance, the contours should be softer, and forms and colors should disappear little by little."

1

77- The foreground

time the clearest, that

in

the back-

is

is

the

same to say,

the foreground displays greater contrast

and therefore greatAs we will see in

er definition.

the sketch, the farther

away

the planes are the grayer they are and the

When

are kept

mountains

are.

darkest area and at the

lose

In a landscape with

and appear grayer away from the

farther

in

more contrast they these techniques

mind, the painting

achieves greater depth.

176

easy to verify this phenomenon of intervening atmosphere, noting that the near-

ground est

it is

mountains

offer

more

intense color than

those farther away, and also noting that in the foreground there is more contrast of tone and color and better definition than in the background. We could say, in summarizing these effects, that:

Contrast and definition decrease with intervening atmosphere.

As you know, when

painting in watercolor, these effects of contrast and definition are obtained, by diluting the outlines in the back-

ground with water, that

is, by painting, "wet," while the foreground is preferably done "dry." Furthermore, contrast is increased by highlight-

ing the light-colored areas of the foreground with dark tones, recalling the classic rules of 177

simultaneous contrasts:

The darker the tone surrounding

it,

the lighter a

white or light color appears to be.

Contrast can also^be achieved by juxtaposing complementary colors, but we will leave this technique for later pages.

178— The darker the tone surrounding it. the whiter a white appears. This law, called the law of simultaneous contrasts, can be appreciated in this example. The shine of ceramic B seems whiter than that of ceramic A because the tone surrounding B is darker Fig.

178

91


plato's rule To compose a watercolor painting Yes, but we should ask what is composition and, above all, how is a watercolor painting composed? To the first question— what is composition?— many artists and art experts have re.

.

One of his students asked him one day how to compose a painting. Plato simply responded: the custom at that time.

.

first

"Find and represent the variety within the unity."

sponded. Matisse, for example, the famous painter, wrote this fine definition: "Composition is the art of arranging the various elements that the artist has at his disposal for

That is, find variety in the form, in the color, in the situation, in the size and arrangement of the elements that make up the painting, so that this variety attracts the attention and awak-

expressing his feelings in a decorative fashAnd Peter and Linda Murray, authors

ens the interest of the viewer, inducing him to look and finally, giving him the pleasure of looking and contemplating. But be careful;

ion."

of the Dictionary of Art and Artists, published by Penguin, also define the term composition perfectly, saying that "it is the operation of combining the elements of a picture to achieve a satisfactory visual whole." Fine, but are these elements (which elements?) of the painting arranged or combined to express the artist's feelings and, at the same time, "to achieve a satisfactory whole"? There is no

when

this variety is so great that it becomes disconcerting and disperses the attention initially attracted,

HOW

the viewer tires and the paint-

ing ceases to interest him.

must

establish:

UNITY

within variety

VARIETY

within unity

See the adjoining sketches and texts for an explanation of Plato's rule through pictures.

181

179

Fig.

1

79- Excessive

Unity

Color and form offer few variants; the arrangement of the elements is static, symmetrical; the whole model displays

too

much

uniformity, a lack of

can be monotonous and uninteresting for the variety that

viewer looking at the painting.

.v

180— Excessive

Fig.

Variety

Here, on the other hand, an

attempt has been diversify, varying

made

to

forms, colors,

Fig

}^ -Variety within

Unity

now

arrangement, and so on to such an extreme that the necessary

The

has been lost, creating a dispersed composition that may cause the viewer to tire

arrangement, and at the same time, there is an order to these

unity

and

92

variety

be organized in some order and within a unity of the whole, combining the two ideas to

concrete answer to this question, only rules like those of Plato or Vitruvius that give us some guidance. Plato, as you know, was one of the great philosophers of ancient Greece, who taught his students as he strolled with them, as was

180

The

lose interest.

painting's

elements

offer variety in form, color

and

elements, a unity that creates a satisfactory visual whole.


golden section

vitruvius' Roman Emperor Augustus, named Vitruvius studied the organ-

In the days of the

an

architect

ization of

forms and space from an aesthetic wondered even then

simple fractions you will obtain the same results— 1:6. Vitruvius thus found this numerical relationship in

The Law of the Golden Section

point of view. Vitruvius

what the perfect arrangement, artistically speak-

Let us

of a point or dividing line within a give space might be. But let me explain Vitruvius' proposition to you with some drawings: Imagine a given area— the painting— in which we are to place the principal figure of the picture. If we place this figure in the center, we will obtain a symmetrical composition, appropriate for certain themes (solemn, majestic, religious, etc.) but without the variety necessary for modern composition. If we move this figure to one edge of the painting, the variety may become exaggerated. This is when the question arises as to where to place the figure. Vitruvius finally resolved this problem by establishing the famous Golden Section or Golden

whose

ing,

imagine a segment cm.

total length is 5

1

2 cm. If

"extreme and mean

1

I

we

3

cm.

establishing that:

divide this area into two

we

sections of 2 cm,

The

will see

according to Vitruvius' same proportional relationship exists between the smaller portion (2 cm) and the the

law,

one

larger

cm)

(3

as

is

cm). This If

so because

is

"Golden Section"

equal to 1.618

Practically speaking, when you want to find the division of a Golden Section, multiply the total length of the space by the

between cm) and

the larger section (3 the whole, or the entire length

5:3=3:20

arithmetical expression

of the

that,

(5

ratio,"

Look

factor 0.618.

you reduce these

at the fol-

lowing examples:

rule: 185

186

"For an area divided into unequal sections to be agreeable and aesthetic, there should be the

same

relationship between the larger section

and the whole as between the smaller and larger

GOLDEN

sections."

POINT

tz

mb 1w

182

Figs.

185.

186-Thelawofthe

Golden Section can be applied both to the height and the width of the

painting.

Where

both

sections cross, they form the

means

golden

the division of the segments,

point,

considered the

ideal place to situate the paint-

ing's

principal

figure.

By

cated

Fig.

Fig.

183— Moving the painting's

Fig.

element to one side, the composition is asymmetrical, but it may present an ex

the

cessive variation,

principal

middle,

element

right in the

we end up

principal

change

the golden point can be

in

182— Dividing the painting the center and placing its

of a simple

in

in

lo-

four different places.

184— Applying

the law of

Golden Section to the height and width of the painting, we obtain a golden point

with a symmetrical composition, monotonous because of its lack of

detracting

that lets us situate the paint-

from the painting's aesthetic

ing's principal figure in just the

variation.

quality.

right

184

place

Furthermore, this

improves the placement of the level that limits the background (A), which we now situate at exactly the height of the Gold-

en Section.

A *

4

\v

'I

93

.


compositional schemes another device that you can use to compose a painting: the device of geometric

Here

is

schemes.

and eminently technique was established in practice by the German philosopher Fechner, who was the first to study the relationship between the physical and psychic effects of form. Fechner succeeded in proving, with surveys and statistics, that most people, when asked to choose between a series of geometric shapes, a series of natural shapes, and another series of abstract forms, prefer geometric shapes because of their simple, concrete configuration. C. P. Haas, expert in images, offers the opinion that this truly bewitching power of geometric forms is a consequence of the principle of hedonism. "Obtain the most satisfaction with the least effort," or the principle of muscular, nervous, or mental economy Let us hasten to explain, however, that geometric forms had already been in use in artistic composition for hundreds of years, first with Scientifically proven, simple, practical, this

.

applied principally by Rembrandt, and associated with asymmetrical composition. Well then, when it is time to choose the subject and determine how to frame it, try to find an overall form that corresponds to a particular geometric shape. And be sure that your watercolor will offer "a satisfactory visual whole." This page shows some examples of geometric shapes and their application to watercolor painting.

.

the adoption of the triangle (A), a perfect

scheme of symmetric composition, and afterwards with the diagonal scheme, suggested and

187 19C

188

94


the third dimension Fig.

1

92— Including an

object

in

the foreground

and dimensions we are familiar with, as in this case of a group of trees, creates the idea of distance between the foreground and the rest of the painting, giving the painting

Representing the third dimension, or what amounts to the same thing— highlighting the effect of depth by showing the space interven-

whose

between one point and another— is also an important factor in the art of composing a

a third dimension, that

ing

size

is,

depth.

painting.

Here, then, are the techniques that the can use to emphasize depth:

A) Including foreground.

artist

the painting a well-defined

in

By painting

a

group of

fence, or any other object of

192

trees, a

known dimen-

Fig.

sions and size in the foreground with the

middle ground and beyond, mentally establishing in a mechanical way the distance be-

tween one plane and another, and

193- Depth can

scapes

like

this

one

also be found in

in

land-

which the superim-

position (or overlapping) of successive planes (see the adjoining sketch) facilitates the repre-

sentation of depth.

firj

as a result

the painting's depth.

B) Superimposing successive planes: When the foreground of a landscape shows some trees or bushes, some rocks, or a fence, and includes in the middle ground beyond, say, the houses of a small town crowded together, and

beyond

that or in the

a subject

composed of successive superimposed

193

Fig. 194— Any effect of perspective, in a street, a building, a road with trees, etc., gives the painting the impression of a third dimension, a

background a taller building, a church or small mountain, we have

representation of depth.

planes, perfectly defined by Plato's formula of "variety within unity," allowing us to repre-

sent and highlight the third dimension depth.

C) Painting sion

is

in perspective:

The

third

dimen-

represented in drawings done in per-

spective:

streets,

squares, buildings, roads,

194

rows of trees, etc. But the viewpoint, the framing that allows us to dramatize the effect of depth, must be chosen with forethought.

Fig. in

195- Atmosphere and depth can be seen

paintings

like this

one, painted at eight o'clock

when

the sun is rising and a golden mist surrounds the middle ground and background. in

D) Highlighting the contrast and atmosphere: These concepts are directly related to the

the morning,

different planes of the painting, to the impression of space and depth. It is a matter of

remembering this technique and accentuating it

when

in front

of your subject.

E) Painting "near" and "far" colors. It has been shown that warm colors bring objects closer, while cool colors make them appear more

195 Fig. 1 96-Paint "near" colors in the foreground, such as yellow and orange. In the middle and background, paint "far" colors, such as greens and blues In this way, you will highlight the depth almost automatically

you paint a spot of medium blue a spot of yellow, you will see that the

distant. If

next to yellow "approaches," it is "located" in the foreground, while the blue "retreats," remains

more distant plane. If you apply this formula of "near" and "far" colors to a painting, you will undoubtedly accentuate its depth. in a

196

95


composition Finally,

once

in front

in

practice

of the model, keep in

mind these

three important rules to improve your watercolor's composition: 1. Approach the subject just enough to create a center of interest that "explains" the content or reason for the painting. Don't paint empty

spaces, minimizing the elements that are the

reason for the painting. Approach without

real

fear! 198

decide how to frame the subject, take a cardboard frame (fig. 198) with you that will enable you to choose the best point of view, 2.

To

and thus, the best composition

for the subject. Better yet, before beginning to paint, do a quick postcard-sized sketch suggesting the fram-

ing

and composition of the

Finally, don't

3.

you

first

see

it.

subject.

be content with the subject as at it from farther to the

Look

from farther to the left, stooping or climbing where you can, so that you have a chance to pick the best viewpoint. right,

198-One

of the

the framing of the subject be-

most common mistakes made by the inexperienced amateur

fore beginning to paint Better

away

lead pencil or watercolors to

subject,

analyze the framing you have chosen and the composition in

Figs.

is

197,

to place himself too far

from losing

the

principal

the

opportunity

to

yet,

sketch a quick note with a

emphasize the painting's cenNote the difference in these figures between staying far away or drawing

general.

near the subject.

and framings. Try to get as much as you can out of these factors, which have such an impact on the paint-

ter of interest.

Fig. 199— Get a cardboard frame painted black or covered with black paper. With this frame, you will be able to study

200

96

Figs.

200, 201-Before begin-

ning to paint, exhaust ble points of view

ing's

composition

all

possi-

.'.•;::**?.

^Sm 1

+r

f«b

MPS

warm-up for watercolor

X£

WASH: WARM-UP FOR WATERCOLOR

characteristics

and

similarities

Learning to paint is always difficult. Painting watercolors is even more difficult. First of all, as in all the visual arts, you have to know how to draw very well. What's more, you must master color, and the compositions and mixtures of colors. As if this weren't enough, you must also know the craft of watercolor painting. Well then, "divide and conquer." It is a matter of dividing these three basic problems and reducing them, in principle, to just two: drawing and craft. These two problems can be studied separately, without going into the problem of color just yet, by practicing gouache painting, a true first step toward watercolor painting.

The examples here of gouache

painting,

done

by Nicolas Poussin and John Constable, painted in two colors, one sienna and one black (or Payne's gray), allow us to compare the characteristics and similarities of gouache and watercolor. In these landscapes, note the transparency of the gouache and the absence of opaque white; the whites here are actually the white of the paper set off beforehand. The resolution runs from less to more, in other words, it was arrived at by superimposing dark layers over light, a typical characteristic of watercolor painting. It is natural, therefore, for us to start these exercises by painting in gouache, and it makes sense to do it with colors as bright as red, blue, and yellow, as we will see in a minute.

Materials

Needed

Watercolor paper (of good

quality), heavy-

weight, as thick as necessary for mounting. 203

A drawing board. Watercolor paints.

Two

sable brushes, nos.

8, 12,

or 14.

A wide "paletilla" or wash brush, no. 20 or 24. A piece of natural sponge. A roll of paper towels. Two jars

A cup

for water.

or pan to dilute colors.

Pencil, eraser, etc.

203- Nicolas

Poussin.

Scene in the Forest

Albertina.

Fig.

Vienna.

98

Fig. 204- John Constable. The Old Bndge at Plat Ford. Victona and Albert Museum. London.

204


first Wash

Dry

in

a

Medium

practical exercises

205

Tone Fig.

205- Place the board at a angle. On your paper

slight

draw a square, approximately 15 x 1 5 cm (9" x 9") m pencil Keep a scrap of paper ready for testing In a small cup or one of the pans of the palette box. prepare a wash of a medium cobalt blue. Try to get a tdne like the one in the examLoad the brush with and begin by painting a band 2 to 3 cm (1" to 1 1/4") wide at the top of the square Begin by painting from side to ple here.

a

of color

lot

side horizontally

no

1

Work

Begin painting from side to side, horizontally; paint with a

number

^

12 brush.

with a

2 brush. Careful with the 206

amount of paint— should be enough to spread evenly as you it

paint, but

it

should not be so

much

it

runs or drips.

that

•

4 Fig.

206— Continue to

maintain

the moisture, working quickly.

Keep displacing the wash, moving toward the bottom, painting

horizontally,

Now paint vertically, from top to botton, keeping the brush loaded so that you are always painting in

always

enough paint on the bottom edge. To control the accumulation of paint and to leaving

wet.

keep from running the board can be slanted as necessary. it

;

207

207- When you reach the bottom of the square you will have some paint accumulated. Fig.

Quickly blot the brush with a

paper towel and absorb the paint accumulated at the bottom until you have a regular, uniform tone over the whole square The perfect harmony and uniin the color of a medium tone dry wash basically depends on, first, the quality of

formity

the paper, second, the slant of the board, and third, the brush

and the amount of paint in it. Of course, there is no chance of retouching or redoing

it.

\*+ 99


practical exercises

first Wash

Dry

Different

in

Tones Figs.

208 to 21 1-Here the ob-

as can be seen from the picture, is to paint four progres-

ject,

sively lighter

shades

(crimson) colored First

draw

of

carmine

wash rectangles

four

15x8 cm

(9"x3"). Use the color rose madder or any crimson and keep a piece of paper handy for testing. Start with the darkest

brush

shade,

with

the

loading

intense

but

not

opaque wash For both this shade and the following ones, keep

in

mind

the instructions given on the

previous page. The procedure is

the same. The difficulty

rests

not

in

washes

of

only

now

achieving

even tones but also

obtaining a range of progressive tones. In order to

do this,

it

necessary to test the color or more accurately, the tone, each time before beginning to paint is

Be careful with the amount of paint necessary for each tone, keeping in mind that is better to err on the side of excess than on the side of insufficient it

color

210

211

100


techniques of watercolor How

to

"open up"

white spaces

by absorbing color

220

221

This is how to "erase" still-wet wash and "open up" white space. 1 Begin by washing the brush and draining it with the help of a paper towel 2 Apply the brush to the still wet

wash

223

224

Wet: .

Dry: Here

it

is

a matter of "erasing" a

wash

that has

watercolor.

1 Begin by wetting the area with a brush and clean water At the same time, rub gently with the end of the .

lifting

the color.

I

professionals to

222

area,

and you

observe that the brush absorbs 3. If the white is not wash the brush again, drain it once will

more with the paper towel and apply again By repeatit

the liquid and the color underneath.

ing this operation several times

sufficiently light,

almost perfect white

2.

With a scrap

this,

you can obtain an

225

of

paper towel, folded

in

quarters

or smaller, absorb the water applied previously. With

already dried.

brush, diluting and

begin with the method used by "open up" whites, or to "erase" paint so the white of the paper is once more exposed.

In several pages I will ask you to paint in gouache using two colors. Since gouache is in many ways similar to watercolor, I would first like to go over some techniques for painting in

you

will

begin to open up the white. Repeat the until you get a satisfactory

Extra help from bleach: To obtain a purer white you can use bleach diluted with water (half bleach, half water) But be careful You should use a synthetic brush, :

operation several times

the only kind that

white

the bleach. Sable hair or others, such as ox hair or

will

withstand the corrosive effects of

squirrel, will burn.

227

226

228

Comparing results: Wet: Undoubtedly the best of the techniques explained here, permitting even the

give

painting of forms with gradated washes, forming for

tain colors (carmine,

illustration

example the shapes

cadmiums

washes, since the bleach cuts the edges

of the clouds.

Dry:

A

laborious technique that,

good

results.

in

Absorption

is

in

the end, does not

more

difficult

with cer-

emerald green, Prussian blue, ana general resist being diluted).

With bleach:

This technique

is

also laborious, but

the results are clearly good, as can be seen It

is

difficult

perhaps

if

in this

attempting graded of the treated

areas

103


techniques of watercolor How

to reserve

whites

ahead of time

In watercolor white

is provided by the white of the paper, there is no white paint. The ability of the good watercolorist is exhibited, among

times reserved areas are small, thin, or situated on top of a uniform background. The professional will the use masking fluid or white wax, employing the techniques explained here.

other things, by his knowing how to reserve the white areas ahead of time. However, some-

229

230

^saiP^ V

J

Reserving with masking fluid: Once the drawing is done and the area or forms to off have been studied, one proceeds to paint them with masking fluid with a synthetic no. 4 brush. The masking fluid is of a light green or cream color, so that you can see where has been applied

2. Once the areas are reserved with masking fluid, you can paint over and around them without any limitations. The masking fluid rejects the water of the watercolor.

231

232

3 When the artist is ready, the masking fluid is removed by rubbing it with a finger, uncovering the white paper. Naturally, this can be done when the watercolor has

the model, following the normal procedures for painting Masking

be set

and so continues

to

be

visible

it

colors, lights,

Reserving with white wax: 1 White wax can also be used to reserve whites before beginning to paint. Once the drawing is completed and the whites that can be reserved before hand have been studied, you "paint" in

with a white

wax

crayon, with

more

or less fine

depending on the shapes chosen. Then you paint around these reserved shapes

lines, 2.

areas,

since

and shadows

fluid

same

is

a

good

of

aid.

quality as the

235

234

233

104

Then the reserved areas can be painted with the

but it is not advisable to abuse its use. since it never gives the white reserved with the brush while painting.

dried.

them

4.

knowing it

will

that

you can paint on top

repel the water

of the

you go over the wax reserve again 3 But be careful and again, will finally absorb, either totally or partially, the liquid color, and the effect of the reserved white will 1

or

wax.

it

disappear.

If


Other techniques to "open up" whites

The requirement that the white paper serve as

usually unforseen, are solved by the profession-

white color, forces the artist to use a series of procedures for those cases in which the white was not reserved beforehand. These cases,

al

with some of the techniques which are explained on this page.

When you Scrubbing out whites in dry paint: want a white in a dark area in an already dry watercolor is advisable to do it with a synthetic flat painting, brush, no, 4, which has stiffer bristles than sable hair. Begin by moistening the chosen area with lots of water.

minute or two, allowing it to and then rub softly with a clean, rinsed brush until the deposited water begins to get cloudy with the loosened paint. At that moment, dry the area with a paper towel.

Scratching out whites in wet paint with a beveiled brush handle: There has always been a need in

one consists

1

it

1

2

Let the water

sit

for a

soften the paper and the paint,

2

There are two ways to open up these white of tracing

them

forcefully

lines:

and resolutely

watercolor painting to create white lines against a dark

using the bevelled end of a special brush with a plastic

background. This must be done

handle and synthetic

area, while the paint

what

is still

in

a freshly painted

bristles, or...

damp and the color is some-

3. For a purer white you can resort to bleach diluted with water and applied with a synthetic brush. Once the whitening is done you can paint again, retouching,

creating shapes, etc.

with the fingernail. The other system, used by today's watercolonst and those of a hundred fifty years ago, is to scratch and expose the white paper with the nail of the pinky or ring finger in the form and position illustrated in this figure

thick.

"Opening up" white spaces with a knife or blade

"Opening up" white spaces with sandpaper (dry

(dry paint): The watercolor must be absolutely dry for this procedure. Here a white line can be etched from a dark background with the sharp edge of a mat knife,

With a small piece of very fine sandpaper (in this example 3/0 has been used) a perfect white can be "opened up" by vigorously rubbing the chosen area (the paint must be completely dry).

x-acto, or single-edge blade.

paint):

1

2 The success of a white obtained with sandpaper depends to a large extent on the quality of the watercolor paper. If is thick and of good fiber will survive and come out like new to be repainted on it

it

105


techniques of watercolor The "frottis," the textural effects, the stains... The techniques of the watercolor are extreme-

Textures

varied and

ly

offer the

possibility,

create diversity

within

with the brush:

1

This technique,

also called dry brush, consists of painting with an almost

dry brush, which

when rubbed, reproduces

texture of the paper, as seen

2.

"Frottis"

can be applied

at

edges and contours

casual or premeditated way. as

in this

in

a

example.

the rough

it.

249

248

250

^^r

•rATwJr*

gfppi^^pflHl

.

Painting with the

wet

watercolor technique, very rich textural effects can be achieved simply by loading the brush with clean water

and applying damp.

it

to a recently painted area that

.

M .

jj|

»#?

1

3 The dry brush technique is also used to create conand to represent the rough texture of certain forms. In any case, it is advisable to try this technique out on a separate sheet of paper before using

trast

in this illustration.

Textural effects with water:

,.

^ygS,

2. The spots and special effects which result from this wet-in-wet technique will suggest surprising textural effects to enrich the color and style of your painting

Painting with a toothpick on a

the small

106

is

used

2.

Example

painted a

The paper to be painted on was The transfer paper was painted an

of transfer:

light blue.

even, dark blue that,

image

idiom.

253

252

Transfer: 1 Transfer is a technique of pressing a recently painted and still wet paper against another paper that may be white or painted, wet or dry.The pressure will transfer the wet area, creating an abstract configurafor

surface. With

branches, etc The moist paper dilutes the paint from stick, making it run and creating an original,

is still

251

on the receiving paper. Transfer background, walls, gorund, hills, etc.

wet

the aid of a stick or toothpick loaded with the watercolor from a brush, you paint and draw, defining lines, tree

modern

tion or texture

We offer in this page

247

246

"Frottis" or rubbing

style.

put into practice, in order to enrich (improve) your technique and your trade in watercolor.

the purest forms of watercolor, of painting with systems (methods) and procedures that

245

and

some of these procedures, which I request you

when

applied,

left

this abstract

3 Another example of mackle In this case the receptor paper (the painting), was painted a light yellow background, and the printing paper (the mackle) was painted with a crimson wash When pressed, printed this :

it

image.


265

Patterns for constructing the cube and cylinder models

Fig

265- For

of the

the construction

cube and the cylinder

of

the model, you should use thick

white poster paper or

weight it

mat

with a

light-

board, cutting

Bristol

knife,

X-acto or

blade Try to cut a clean edge

and follow the measurements given here. cult to

It

is

not at

all diffi-

do and

in

return

you wi

have the pleasure of having the

model

in

front of you.

266

Figs.

266,

267- (Above) Note

the position of the

board behind the model as background, and to the right,

the type of

the play of lights created by

from the

model and lighting, coming

from the tabletop lamp. Note the white Brisside,

tol

the model.

267

109


painting with

two

colors

drawing and reserving with masking fluid (Fig. 268) For this relatively easy drawing, I begin with the cylinder, noting that its height is equal to twice its width, while the left profile of the glass is just in the center of the cube, and the diameter of the glass is slightly bigger than that of the cylinder, etc., etc. As usual, I draw without shadows, using only line. Once the drawing is complete, I reserve the bright areas of the glass, by painting them with the masking fluid and synthetic brush. Notice in fig. 268 the small color stains of the masking fluid which will allow me to find the reserved areas First stage:

later on.

Second stage: painting the background (Fig. 269) Using clean water and a sponge I wet the surface of the paper, to eliminate any possible residues of grease left by my hand while I was drawing. I wait for the moisture to dry before I wet the paper again, this time with the marten hair brush no. 12, and only in the background area behind the model, following carefully the contours of the cube and cylinder. Watch out! Don't go past the line or the color of the background will invade the shapes of the cube and the cylinder. Without allowing this new layer of water to dry, I paint the background

warm

gray, using a

than blue. first

paint

I

little

w 268

more burnt umber

wait for a few minutes until this

wash

dries.

Then

I

paint the table,

mixing blue and burnt umber with a predominance of the latter. But, pay attention: I don't paint with an absolutely regular and uniform wash. I mix the colors as I paint, at times mixing them on the paper itself, with the purpose of achieving a color with slight variations.

Third stage: painting the cylinder and cube (Fig. 270) I

go on to the cylinder.

First wetting the

visible part with water, reserving the part half

and then painting over area with a wash with a slightly

hidden by the the still-moist

glass,

charge the brush and, with I paint a dark stripe from the top to the bottom of the cylinder, still reserving the part hidden by the glass. Fast now! With the brush cleaned and a little wrung out, we have to dilute the previous color in the shadowy area, by degrading it as it moves toward the illuminated zone. I paint the side of the cube which is most in shadow, using a premixed wash. When the facing square has dried, I paint it a cold clearer gray color.

bluish tendency.

I

a slightly zig-zagging stroke,

110

269 Fig.

268- The first stage of this

Fig.

269- In

this

second stage,

shows

important to achieve the irregular color of the table, with

pencil

small variations that better re-

two-color

painting

exercise

the drawing done in and the small colored spots of masking fluid, indicating the points where whites have been reserved

it

is

The graded wash background, behind the geometric shapes, has been painted wet-in-wet

flect reality

of the


Next, I paint the triangular shadow projected by the cube on the cylinder. And before it dries, soften the edges of the shadow so that it does not look so hard. I finally paint the

shadow on the

inside of the cylinder.

Fourth stage: the glass, shadows projected on the table, and some finishing touches (Fig. 271) I first paint with diluted gouache, indicating the construction form and slight variations of tone in the glass. While this dries I go to the background, darkening the area behind the angle formed by the edges of the cylinder and the cube, and paint wet-in-wet. Next I remove the masking fluid and retouch some of the uncovered white areas. I paint the shadows projected by the model on the table; when I reach the shadow of the glass, I have opened up a small spot of white to represent the light reflected by the glass's crystal surface. Finally, I work on the lights and shadows of the glass, thus finishing this study. 270

271

270— Third

Fig.

stage; the gra-

ded wash of the cylinder has been painted wet-in-wet. that wetting the paper beforehand with clean water. Observe the tenuous but visible light reflected in the face of the cube is.

more than

in its

shadow and

note that at this stage, the cylin-

shadow can also be seen through the glass. der's

27 1 — Removing the maskby rubbing with the finger and uncovering the pure Fig.

ing fluid

whites reserved previously is always a surprise... at times an unpleasant one because of the excessive contrast and the

need to paint and retouch, to soften the harsh contrasts of the color and the whites. Try.

have done, to enrich the tones and shades and painting blues, re-

as

I

color, diversifying

membering in

that blue

the glass,

etc.

Finally,

in

is

visible

the shadows,

note the

black

drawn with ballpoint, that mark the bases of the cube and the inside edges, in the shadow, of the cube and lines,

the cylinder.

111


examples

in

wash

«i

Fig.

272- Wash

272 painting,

even

painting with only black watercolor or diluted India ink. offers

ample

possibilities for artistic

expression. started

In

addition,

medium

perfect

in

it

is

a

getting

the practice of water-

color painting.

show an

for

These pictures

excellent

wash

paint-

landscape by Fedenco Lloveras. and a sketch

ing of a

I

made

112

of a child's

head

riffi

9 K

"I

am

really excited

by these laws and

theories of colors. Oh! if only someone had taught them to us in our youth!"

Vincent van Gogh (1853-90)

MV

THEORY AND PRACTICE IN COLOR

primary, secondary and tertiary colors To summarize:

three primary colors (P), which, mixed in pairs, produce the three secondary colors (S), which,

Nature "paints" with the colors of light. Newton, the physicist, reproduced the phenomenon of the rainbow: in a dark room he intercepted a light beam with a crystal prism, and was thus able to decompose the white light into the six colors of the spectrum. Young, another famous physicist, did the opposite: while doing research with colored lamps, he was able to recompose light, obtaining white light. Besides this, he arrived at the important conclusion that the six colors of the spectrum could be reduced to three basic colors, from which he

mixed with the primary colors, make more colors known as tertiary colors (T). if

What we have seen and

six

read up until now,

leads us to the following practical conclusions,

which justify our knowledge of the theories on color:

—Light and the

"paint" with the colors: the colors of the spectrum. artist

same

—The ors

perfect coincidence between light coland pigment colors permits the artist to

imitate the effects of light as

it

established the three basic light colors: green,

forms and to reproduce with great

and dark blue. By mixing these three light colors in pairs, Young determined the three secondary light colors: cyan blue; purple; and yellow. To summarize: everything that you and I are seeing right now, is receiving the

the colors of nature.

red,

—In accordance with the

illuminates fidelity, all

theories of light and

can paint all of the colors of Nature, with only three primary colors: cyan color, the artist

blue, purple,

and yellow.

three basic light colors and, through extension, the three

secondary

light colors.

Nature

274

"paints" with light colors.

we paint with pigment colors. Fortunately we paint with the same colors, with the difference that we change the value or primacy of some colors with reference to others, and we can thus say that: In the studio

Our primary

(1)

The term cyan blue does not appear in the color charts

for watercolor or oil paints.

colors

colors

are the primary light colors. Fig.

Primary pigment colors (secondary

light col-

of

posed

Cyan Blue (1) Purple ,

the

of six basic colors.

275 fig.

Secondary pigment colors (primary or basic light colors), by paired mixture of the previous

275-Colors

Fig

276— Pigment colors:

tractive synthesis.

Red, Green, Dark Blue

Pigment color mixing subtract

light,

that

dark colors:

is

if

is

always supposed to

to say, to pass

on from

we mix red and green we We get black if we

get a darker color— brown.

mix our three primary colors together. Physicists call this phenomenon: subtractive synthesis. Light, in turn, "paints" by adding colors: by adding a red beam to a green beam the amount of light is duplicated, and logically we obtain a clearer light, in this case yellow. This phenomenon is called additive synthesis.

Now look at the chromatic circle or table of pigment colors—our colors— derived from the

of light: ad-

ditive synthesis.

colors:

114

formaspectrum com-

ton, gives place to the tion

light to

274- The decomposition by New-

of light, discovered

ors)

Yellow,

belongs to the graphic

arts

corresponds to a neutral blue, very similar to Prussian blue when mixed with a tinge of white.

are the secondary light colors.

Our secondary

It

and color photography, and has been adopted by the present for the purpose of discussing color theory. It

276

sub-


complementary colors The enclosed chromatic

color wheel shows complements of each color by pairing the colors one in front of the other. We

the colors are

thus see that:

Yellow is the complement of Blue Cyan Blue is the complement of Red Purple is the complement of Green (and vice versa) But, what

is

the use of knowing color comple-

ments?

know,

In order to create color contrasts; to

example, that green next to red

will

for

make

a Fig.

really extraordinary contrast.

277— The

277 juxtaposition of

complementary colors creates

In order to paint with a different range of colors: a range of warm colors, cool colors, or broken colors,

about which

we will speak in

the follow-

ing pages. In order to paint the color of shadows will discuss

on the next page.

which we

the

maximum contrast of color.

The mixture of two complementary colors becomes a dusty black. When the mixture is not in the proper proportions,

you get a range of broken colors, or a range of grayish colors when working with watercolors. Fig.

278— Chromatic

table

of

pigment

circle or

colors,

in

which the primary colors (indicated with a P) appear. Mixed together

in

pairs they yield the

three secondary colors

which when mixed

(S).

one primary and one secondary yield six tertiary colors (T). The smaller circle shows the paired complementary colors indicated with arrows. Below is the list and classification of these in

pairs

colors

PIGMENT COLORS Primary

Yellow

Cyan blue Purple

Secondary Green

Red Dark Blue Tertiary

Orange Crimson Violet

Ultramarine Emerald green Light green 115

THEORY AND PRACTICE

IN

COLOR

the color of forms; the color of

shadows

What's the color of things? Well, people say that bananas are yellow, that tomatoes are red, and that some flowers are blue, but in fact, to us painters, these and all forms basically offer three factors which deter-

279-

Fig.

If

we

make

could

a

dissection of the colors that are in

we would see peach, blue is the colors, but in

any shadow,

as present

in this

that,

in all

greater quantities

shadowed

in

areas.

mine their color: The local color or color of the object

itself: the yellow of the bananas, the red of the tomatoes, that is to say, the intrinsic color, not modified by light, shadow or the reflection of other

colors.

The tonal color:

lighter or darker than the inher-

ent color,

due

shadow

it is

to the effects of light

279

and

that lighten or darken the yellow of

the bananas, the red of the tomatoes.

The ambiance

Fig

or surrounding color resulting

from various factors: the colors reflected from the colors of surrounding objects; the color of the light illuminating the forms which may be more or less orange, or blue; the intensity of the light; and the effects of the interposed atmosphere, which, as you know, diffuses light and modifies colors, giving forms a grayish hue. But in the end the color of the form is there, in the model, and we have nothing to do other than observe carefully and follow its dictates. The biggest problem, the one that many amateurs (and some professionals) have not been able to grasp, is the color of shadows. What's the color of shadows? Is there a formula that would allow us to successfully solve the problem of painting the color of shadows? I think

sent

2.

3.

color of the

shadow

prein

a

Impres-

Before

rule,

artists

color of the

brown

resolved the

shadows by adding

or gray

280

281 — Ever since the Immovement, and fol-

Fig

pressonist

lowing the laws of Chevreul, the

complement of the color of

the object being painted in its

shadow

If

the

sic local color is red.

is

is

the shadow, but

sionism, which gave voice to this

sent

The

in

darker tone

so.

1.

280— In the same manner,

the local or intrinsic color

constituted by:

green

in

is

pre-

intrin-

there

is

shadow

the

The color blue, which is present in all darkness. The local color in a darker tonality. The complementary of the local color.

Let's use

some examples:

281

The color blue, present in all darkness (fig. 279): this is certainly the most important of the three mentioned factors. Right from the begin-

Fig.

282- Mixing

mentioned

ning of the painting

it is

important to incorpo-

rate blue into the color of the

The local

color in a darker tonality

(fig.

dows, with a marked approximation to reality. The artist will of course vary the proportions and quantities of color to res-

280): the

shadow of

pond

yellow; carmine in that of red.

The complementary of the local color (fig. 281): Blue complements yellow; green complements red or carmine, and so on. How you mix these colors, what proportion of each you choose, depends on whether you want to paint in a classic or modern style 116

the colors

the figures above

gives us the color of the sha-

shadow.

tonal color, Sienna appears in the

in

282

to his or her

own

style.


colorists —more tonality

and value painters

you accentuate the darker of the local color, and more modern if classic if

the tendency

is

bluer, mixing blue with the

complement of the local color. In either case, you will have solved the problem of the color of shadows. That's what I hope. Some artists paint almost completely with flat color without shadow,especially in contemporary painting. Have you noticed this? These are the artists that

Andre Lhote classified as

col-

"those who rely mainly on color"; those who, while painting outdoors, choose frontal illumination or diffused lighting without shadorists:

ows, seeing and differentiating forms with color reminiscent of the style of some of the old masters such as Fra Angelico, Hieronymus Bosch, the Brueghel brothers. And color as form was a basic principle to the Impressionists and fauvists from Van Gogh to Matisse to Derain, with their premeditated exploitation of color, because, as Bonnard wrote, "color alone, without any help, is capable of representing mass and volume, and of expressing a

283

pictorial climate."

On the other side are the value painters, those who paint the model with lights and shadows, who use the natural shadow (shadow of the form itself) and the projected shadow to explain volume. In this group can be

artists

included

modern

all

the classical painters and

as Corot, Courbet, Nonell,

seems obvious the formulas and It

that the colorist styles

some as

and

is

Dali.

closer to

of the present—if

it is

good nor bad styles," as Andre Lhote said, "only good or bad ways of using them." On the other hand there is no reason why one should follow a single formula: Picasso would sometimes paint with true that "there are neither

flat

color devoid of shadows, while at other

times he would yield the role of protagonist to shading, modeling, mass and volume. "To paint?

To draw?" Cezanne

color appears in

all its

said.

richness, the

"When

the

form appears 284

plenitude." But the question remains: you now know the two alternatives, will you in all

its

then paint as a colorist or a value painter?

Fig.

283— Federico Lloveras. El

Fig.

284— Federico

Lloveras.

Modern painting conmany examples of the col-

object

Zaragoza. private collec-

Fishing Port in the North of

tains

tion.

An example of value paintThe artist attempts to resolve and explain the forms of

Spain, private collection. Here,

orist interpretation, particularly

ing.

the

Pilar.

same

artist

paints

style of the colorist.

in

the

Forms are

objects through the use of light

not rendered by pattern or by

and shadow— a classical style of painting, used by most art-

the play of lights and shadow,

ists

tury.

throughout the

last

cen-

among

the art of the Fauvists

and Expressionists.

but rather through the use of color: the different colors of

each house, each boat, each

117

THEORY AND PRACTICE

IN

COLOR

harmony In 1840, at the age of sixty-five, Turner trave-

second time to Venice, where he

led for the

painted the best watercolors of his life time. They were, and still are, a marvel of technique,

and color, but above all, a masterly lesson on mixing and harmonizing color. Looking at the extraordinary beauty of Venice painted with grays and blues, the great Constable said of Turner's work: "He has been able to dye the atmosphere." Turner did not arrive at these results by a fabulous mastery of water

chance.

It's

r

certain that the resolution of these Fig.

famous watercolors, responds to a preconceived idea of color tendency or color dominance, that Turner would then develop into a range of colors: "A succession of perfectly organized colors or tonalities." In fact, a painting can be completely toned with colors of a blue tendency by using a range of cold colors; or it may be painted with a red tendency by using a range of warm or hot colors; in the same manner, it may offer a series of grayish tones and colors, through the use of a range of broken colors. Fortunately for us, the artists, these color ranges appear in the model itself, thanks to the fact that in Nature there exists always, no matter what the theme may be, a luminous tendency, which causes a relationship between colors. At times, this tendency is very accentuated. For example, at daybreak on a foggy day when blue and gray dominate, or at sunset when everything is golden, yellow, and red. When the harmonizing of colors is not so evident, the artist must plan and organize; accentuate, exaggerate... imagine a color tendency and hold onto it with a true obsession, from the moment he starts painting to the

286

285

285— Range

lors. This

is

of cool coof the

composed

Fig.

287

286— Range

colors. This

is

of

to

288- Turner.

London. tercolors.

One

Venice: The

British

Museum

of Turner's

wa-

painted during his

289- Whistler. Gray and Green A shop in England Glasgow University Donated by Birnie Philip. A good examFig.

second trip to Venice, this an example of a range

ple of a subject painted with a

offers

palette

of cool colors.

grayish tendency.

118

of

broken colors of

287- Range is

of broken composed by

the following colors:

mixing complementary colors

Yellow green Yellow

in

Green Emerald green Cyan blue

unequal proportions, which applied to white paper create grayish tones and colors. Within the range of bro-

when

Ultramarine

Orange Red Crimson

Violet

Purple

ken colors a cool or warm tendency can be chosen, since all

Violet

the colors of the palette are

included

in

it.

288

.

M-jl

&

V'

m

^ -"

;

289

V-:;«

Great Channel

Fig.

colors. This

Yellow green

"dye the atmosphere."

Fig.

of

I

following colors:

finishing touches.

Do it this way, and perhaps you too will be able

warm

composed

L

m

m BH

in

watercolor VrJK HEMh

1 "There are colors that

seem

impossible.

The color of the grass that moves at the bottom of the water, for example." Claude Monet (1840-1926)

COLOR MIXING

IN

WATERCOLOR

three basic colors Color,

Light,

Pigments,

Primaries,

Secon-

daries...

No, no. We're not going

to continue talking

about color theories, but rather, the practical application of these theories, which, as we said

make the fabulous discovof Newton and Young so that we may:

before, allow us to

ery

Paint all the colors of Nature with only three colors.

The three primary pigment colors— yellow, cyan blue, and purple— mixed in pairs, give us the secondaries, green, red, and dark blue and six,

mixed

in pairs give

us the

tertiaries,

all

Fig. 292-A Graded wash cadmium yellow medium.

of

B.

Graded wash

of

cyan blue

C.

Graded wash

of

alizarin

crimson carmine.

and

so on and on.

The

equivalent in watercolor or gouache of

these three magic colors

is:

Cadmium yellow medium Prussian blue Alizarin crimson carmine

(Plus the white of the paper)

293- A The mixture of the primary colors yellow and blue Fig.

B.

The range

blue

is

of

greens that can be obtained by mixing yellow and

practically infinite.

gives green

Fig.

291— Here

note that

I

is

a watercolor

myself did painting

with only three colors, cad-

mium

yellow medium. Prus-

sian blue,

and rose madder. 291

Fig.

294-A. Mixing carmine

and yellow, we obtain

Fig.

red.

295-A. Blue mixed with

purple gives us an intense blue

B. Note the wide range of reds, oranges, and yellows that can be obtained by mixing crimson and yellow.

B With cyan blue and purple and violets can be achieved.

a

wide range

of carmines, purples,

of violet tones.

Fig.

296-A. When

the three

primary colors are mixed gether, they produce black.

120

to-

B

This

is

the range of grays that

is

produced by mixing the three primary

obtained with the black colors.

COLOR MIXING

IN

WATERCOLOR

warm

12

10

13

16

15

14

colors

18

17

297

will serve as the preamwhole watercolor painted with

This exercise ble to a

5.

English red: Intense charge of yel-

tense blue, a

low and carmine.

yellow.

these three colors.

6.

Vermilion: Intense charge of carmi-

You will need the following materials: Medium grain paper, 250 grams or

7.

ne with a bit of yellow. Pink: Carmine with abundant wa-

more, of good

The

quality. 8.

8.

9.

Roll of absorbent containers paper.

Two

Light carmine:Wash of intense car-

mine.

Palette or palette-box.

Brush of marten hair no.

17.

ter.

three colors mentioned above.

16.

containers with clean water.

Purple:

Wash

of carmine with a

bit

of Prussian blue. 10.

Light yellow ochre: First a

wash with

Please read the following instructions

more yellow than carmine; then

referring to the numbered samples above, together they will provide you with instructions for composing a vast range of colors.

add 11.

12.

Lemon Yellow: Composed with only cadmium yellow and water.

18.

little

carmine and

Light gray of warm tendency: Lots of water, a very light purple, and a clear wash of yellow. Dark gray of warm tendency: Com-

pose a dark purple of blue tendency; little by little add yellow. Black: Thick amounts of blue and carmine will render an almost black color; add a little yellow for a warm black.

little by little a small quantity of blue. Dark yellow ochre: Same as the previous, but increasing the yellow and the blue. Natural Sienna: First an orange (4. or 6. above) and little by little add

blue.

Light rose yellowfor skin tone: Composed with the above and a very

13.

small wash of carmine. Pink yellow .The previous color with a bit more carmine. Light orange: Intense cadium yellow with a little bit of carmine..

14.

15.

Burnt Sienna: Compose an intense purple; then add yellow. Van Dyck brown: A thick mixture of intense blue and yellow; then add carmine until you achieve this warm dark maroon. Warm bottle green: Charge of in121

COLOR MIXING

warm

IN

WATERCOLOR

colors

22

23

19

20

21

25

26

27

28

29

31

32

33

34

35

24

30

36 298

We

continue painting with warm cobut we now incorporate greens and even blues into our mixes, since in a range of warm colors nuances of cold colors may intervene, that is "cold" colors with a warm tendency. Thus, this green will reflect a bit of red or Sienna, and here the blue will show a nuance of brown or carmine.

wash of bluish green with lots of water, then add a wash of carmine.

lors,

19.

Yellow green:

a 20.

bit

Wash

26.

Khaki: Bluish green and a carmine.

28.

Warm

of yellow with

(It is

preferable with co-

mix on

little

Dark green or emerald green: Undiluted blue and yellow, the latter in

31.

smaller quantities, plus a touch of

carmine.

32.

A

23.

Grayish blue: wash of blue mixed with a very light wash of carmine.

24.

Darker gray blue: The same as the previous, increasing the amounts. bluish gray: First

compose a

Wash

of all three colors in equal amounts, but with a Neutral gray:

more

blue.

Dark yellow green: Somewhat intense yellow, a little bit of blue, and a very light wash of carmine. Natural Sienna: The same composition as that in the previous color

adding a 33.

bit

of carmine.

Venice red: Identical composition as color

number 32

carmine.

with a

color with

more

Wash of carmine and blue with an addition of some very light yellow wash.

Olive green .The previous color with

35. Light burnt

of

29. Light purple:

simply with yellow

bit

Burnt umber: Now add a bit of blue wash to the composition of the previous color.

more

umber: The previous more water and a bit

blue, that

tying at the

clear

lors as liquid as this one, to

a bit of carmine.

122

A very

bit

a clean palette or test paper).

Permanent green: A neutral color neither cold nor warm, which you

Warm

as the

watery wash or blue and green and a still lighter (more watery) wash of clear gray:

carmine.

30.

25.

The same

above but increasing the amounts.

of blue.

may compose

22.

gray:

27.

and»blue. 21.

Dark warm

34.

36.

is,

same

clearing

and

dir-

time.

Dark neutral gray: Compose a neutral

gray like that in

increase the

fig.

30; slightly

amount of each

color.

COLOR MIXING

IN

WATERCOLOR

299 Fig.

299-Cefenno Olive. Plaza

del teatro (Barcelona), private collection. A notable example of color

harmony

in

a

warm

range.

123

COLOR MIXING

IN

WATERCOLOR

cold colors

37

We

38

39

43

44

45

49

50

51

now

na,

which may

exist in

an ensemble of

cold colors, provided they retain a green-blue-gray tendency.

41

42

46

47

48

52

53

54

purple of medium intensity with a heavy load of color; add a bit of yellow and neutralize again with

going to mix a range of cold colors with grays, blues, greens, and violets predominating, but without eliminating the yellow, reds, and Sienare

40

carmine and blue. 43.

Medium

blue: Simply a

previous

Meadow

Simply a blue wash with abundant water. Sky blue with warm tendency: Blue wash mixed with a very light yellow wash. Sky blue of red or carmine tendency: A blue wash with abundant water, mixed with carmine wash.

51.

38.

39.

40.

Medium lors

neutral gray:The three co-

wash of

green: Blue and a bit of

41.

amount of blue. Light cold gray: The previous color

42.

Dark cold

increasing the blue a

compose

52.

little

49.

50.

53.

blue.

by

little

add blue.

earth green:

it

Mix yellow and

car-

make an

orange, then add which will "cool" it off. Sienna: Compose a wash with carmine and yellow to make a light red; then add a bit of blue. Dark lemon yellow: Can the yellow color belong to a cold gamut? Yes. It is

water.

Light earth green: Compose an orange with yellow and carmine;

Dark

make

to

The same

as the

a yellow with bluish tendency,

with a little bit of blue, which gives us a yellow closer to the cold range.

Violet: Prussian

little

a

little

blue and intense carmine. 48. Bluish carmine (or dark carmine): An intense wash of carmine with a

little.

gray: First

Composed with blue and yellow, loaded more with blue. Navy blue: Prussian blue with much and

to

a bit of blue

Blue green:

paint 47.

equally distributed, with a

slightly larger

124

46.

Dirty orange:

mine

colors. 45.

increased

darker.

yellow with a heavy load of both 37. Light blue:

with

amounts of each color

very intense blue. 44.

color

300

54.

Cold black:

A

thick load of Prus-

sian blue, a smaller quantity of car-

mine, and a little yellow. Increase the blue if necessary, in order for the blue tendency to become evident.

COLOR MIXING

IN

Fig.

WATERCOLOR

301— Julio Quesada, Nina

Venezolana, private collection. A magnificent example of color harmony using a range of cold colors.

1

301

125

COLOR MIXING

IN

WATERCOLOR

broken colors

302

Here we have a range of broken colors, worn out colors, close to gray or "dirty" colors. Some colors, you will remem-

58. Light gray carmine:

Compose a light

ber, are the product of the mixture of

green and add a wash of carmine. 59. Medium gray carmine: Same as the previous procedure, increasing the

two complementaries in unequal amounts and white. In watercolor the

60.

white is the paper, so the the formula is enough.

first

Using plenty of water, mix blue and carmine to make a violet blue, then add a bit of

yellow (violet blue or purple complementary of yellow). 56.

Medium

yellowish gray:

is

heavy load of color and slowly add carmine until you get to this color. Ochre: Begin with a clean orange wash; then mix in blue in increasing

68.

amounts

until

you

62.

wash. the three layers

colors,

on the

Mix washes of composing

in

test paper, so that

the three colors interact in equal 70.

Medium

neutral grey: Like the pre-

vious procedure, using larger quantities.

71. Payne's gray:

at this color.

Compose

a brilliant

green with enough paint aud slowly

add carmine. 64. Intense sepia:

A

neutral grey with

bluish tendency, this

is

made

with

intense blue, a bit of carmine, and less yellow.

As

the previous but

using more color and finally adding either a little more blue or carmine. 65. Grayish blue: A blue wash with 66.

same colors as in more intense

proportions.

in a medium intense wash; little by little add carmine until you arrive

carmine and even less yellow. Broken green yellow: Begin with a

little

Greyish blue: The

69. Light neutral gray:

arrive at

Olive green: Compose a clean green

63. Light sepia:

of carmine and blue. Broken sky blue: Prepare a very clean blue wash and add a very clear wash of carmine and yellow. the previous but in a

this color.

The same

on the other, the complementary yellow is added in smaller quantities. When we add the white of the paper, the broken color appears. 126

61.

the

composition with higher amounts of color. 57. Dark yellowish gray: This is a good color to practice the combination of complementaries mixed in unequal proportions. On the one hand the blue and the carmine when mixed give us the violet blue, and

67.

Compose a very clean green with a

part of

55. Light yellowish gray:

amounts slightly. Dark gray with a carmine tendency:

very clear yellow wash; add a wash

72. Neutral gray: Intense thick blue, to

which

is

added a bit of carmine and

a bit less yellow. Test

it

before

painting, because the actual nuis not appreciated without seeing it^m white paper.

ance

COLOR MIXING IN WATERCOLOR

"special" colors Sometimes amateurs with will ask: Is

or gold?

experience

little

there a special color to paint silver

What

colors should

one mix

in

order

me answer these questions

by saying that

there aren't special colors to paint silver, there isn't a gold color, nor is there a color to paint crystal objects.

303— Glass

has no

This glass receptacle (A)

because

it

of a white

we

to paint crystal?

Let

Fig.

"X

is

placed

white

in

front

background which

see through the transpar-

The same receptain front of a red and orange background (B). apent glass. cle,

placed

pears to have these colors, with the edge of the colors slightly

deformed by the shape receptacle.

Crystal does not have color:

To

paint a crystal

color.

is

of the

Against a black

background a glass object (C) physically recognized by the reflections of the lights and colors around it. is

object

is

more complicated than

painting a

cube, but not more difficult. If anything, it is more laborious (painful), more time consuming: You have to observe the model attentively and consciously; you have to study the

forms, transparencies, tonalities, and colors. "One has to stupidly copy everything," as the great Michelangelo used to say. secret, or

any special

ability:

is

no

we

see

There

the colors

through a crystal object or reflected on their surfaces, are as concrete as those of a table or an apple. What happens is that these surfaces appear to vary in brightness and are broken by reflections; this slightly modifies the tonality of certain colors, and sometimes promotes small deformations, but that's all.

And

the color gold does not exist: If we

had to we would

determine the local color of gold, choose yellow ochre to begin with. But gold without brilliance or reflections would stop being gold. The color gold is the result of an ensemble of nuances, stains and small degradations, that can go from white to black (depending on the colors that the gold may reflect), passing through carmines, greens, certainly

Siennas, ochres, reds, yellows, blues, etc.

304

304- Here is a basic range

of colors for painting a gold

on the right. As you can see there is no gold color, but

object.

there

Fig.

Fig.

305— With

colors

I

range of have painted the subthis

ject

is

shades copied

a series of colors and

which,

viewed and

precisely, allow us to

represent a gold object.

305

127

1

COLOR MIXING

IN

WATERCOLOR

painting a watercolor with three colors you have painted the color ranges as I proposed to you in the last few pages, you're now ready to use the same three colors to paint a still life that you can prepare yourself. If

anyone reminds us of the importance of the three primary colors, and

This

is

a very profitable exercise for

that paints watercolors:

it

affirms the idea that in order to paint

it is

not

necessary to use a wide range of colors. let's do it, let's paint. Choose the objects that will compose your still-life painting. Try to compose a motif, not

But

a

theme; thinking about an

original image,

place the objects on top of a table, in an

apparently casual arrangement. But let this arrangement respond, insofar as possible, to a concrete scheme of composition. I have tried to follow this road: I have positioned the objects of the

model

have made up colorist,

that

my

in a triangular

mind, besides,

scheme.

I

to paint as a

using a range of cold colors, factors

306

may be guessed from the enclosed picture

of the model, First stage:

(fig.

306).

drawing and serving with masking

fluid (Fig. 307) I do a test sketch, which I afterwards redraw with more precision; I draw without

First

shading, using only lines

made

with a no. 2

brush no. 4, cover and reserve some white areas with masking fluid. Pay attention to this point, there are two aspects that I want to underline: First, masking fluid is a means, not an end. Use it as a resource, but do not abuse it. As we will see shortly, it is much better to reserve whites by leaving out paint, than using the masking fluid. Second, apply the masking fluid with a great deal of care, anticipating the situation and exact dimension of the white space. As you know, masking fluid has a color, it is visible, and is therefore easy to apply.

pencil. Next, using synthetic hair

307

Second stage: general tinting in the background and large areas (Fig. 308) I begin by wiping the entire surface with a damp sponge with clean water, in order to eliminate any possible residues of grease left, by my hand when I was drawing. Once it's dry, I again wet the background area behind the fruit bowl and water jar, using a brush made of marten hair, no. 12 (I paint with the drawing board slanted about 60 degrees on a desk easel). I mix a cold gray for the background. As I apply it, I mix in strokes of blue, carmine and yellow, mixing and varying the original gray 128

right

on the paper.

I

continue with the

light

gray-blue-green of the table cloth, making it darker in the foreground, and attempting, as well, to enrich and diversify the color (notice how I have bypassed the top edge of the wine glass and jar); and I end up tinting with washes some of the larger areas such as the apple and the fruit dish.

Fig.

309-(Right): Using maskreserve only the ob-

ing fluid,

I

made of glass and ceramNevertheless, when the

jects ic.

rubber fluid ful

is lifted off.

the aw-

blanks constitute an unpleas-

ant surprise, and throw doubt on the use of the liquid rubber.

COLOR MIXING

IN

WATERCOLOR

308

Third stage: color intensifying color, modeling, removing the masking fluid (Fig. 309) I now paint the bright colors of the fruit in flat tones without shadows, as well as the fruit dish, also as a colorist. I paint the lone apple. With cold grays I model the wine glass and the water jar. Next, I tear off the masking fluid by

rubbing with

my

finger at the

same time

era-

Observe the state of the watercolor in fig. 309, and note the sharp contrast of the forms reserved with masking fluid. These will require retouching to smooth some edges and soften transitions sing the residue of lead pencil.

with glazes.

Fourth and

last stage:

general adjustment of

color and finishing touches (Fig. 310)

have begun by painting some glazes (very harmonizing some of the scandalous whites reserved by the masking fluid in the reflections in the jar and wine glass. In the I

clear washes)

309

•Wi, '

129

COLOR MIXING

IN

WATERCOLOR

310

luminous halos of the the apple. Next, fruit dish,

I

the fruit dish, and reinforced the color of the

adjusting

fruit,

some of the

colors.

I

finish

modeling the wine glass and jar. Be careful there! It would be fun to compose a general gray color and to paint everything with the same color. But on the contrary, we have to change and diversify the colors, accentuating the warm and cool tendencies offered by the model. Last, I finish the wrinkles of the table cloth in the foreground. Before signing

130

it

I

spend a day without looking

at

the painting.

always true that the next day there is something one hadn't seen, something that could be improved. I have only painted with the three primary colors: cadmium yellow, medium, Prussian blue, and alizarin crimson carmine. I have worked on 300 gram paper, mounted on a block, and I have painted with It

is

moist watercolors in tubes and brushes of

marten hair nos.

8, 12,

and

14.

Fig 31

0— you have painted a If

watercolor

like this,

using your

own model and composition, will

probably be

difficult for

it

your

family and friends to believe

you painted with only three You will have to prove them that is true and con-

that

colors.

to

vince

it

them

that

only three colors, to paint

found

in

all

in it

fact, is

with

possible

the colors that are

nature

m

^1 was

n

1

tSSSBmt

• I

and a The terse man makes the loquacious one bores us."

"In art, synthesis is a necessity

mark

of elegance.

us think;

Edouard Manet (1832-1883)

TECHNIQUE AND SKILLS

dry watercolors, wet watercolors Dry painting

is

basically painting with transpar-

ent paints, using the white of the paper, and

defining the contours and limits of the objects

where

called for by the model. This does not eliminating the breakdown or diffusion of cylindrical or spherical objects, nor does it

mean

call for

painting the background in absolutely

and defined terms, as the latter would mean doing away with atmospheric effects. clear-cut

Of course, dry painting involves the risk of the watercolors separating (see fig. 312), because the wash may dry while painting. Dry painting with watercolors must progress from less to more, painting the light sections first, which may be used to finish large areas, and then applying darker coats. Well then, if you look closely you will agree that dry watercolor painting

is

like classical

watercolor painting, with no particular special technique: in fact, when someone uses the term "dry watercolor" they are differentiating it from "wet watercolor" because the latter does indeed require special techniques. The technique for wet watercolor painting con-

of painting on damp paper, so that the limits and contours of the objects sists basically

appear diffused and not clearly defined. This lack of definition also appears in interior forms or profiles. The two paintings shown on the following page explain the technique of damp watercolor painting better than words. The degree of dampness is a basic factor: the greater the dampness, the

more the

colors will

run and the greater the effect of "bleeding" or lack of definition, and vice-versa. Therefore, one must control the degree of dampness, by moistening with the brush or by absorbing and decreasing the dampness with an absorbent paper towel. Remember, one must paint on damp, but not wet, paper. An artist friend of mine who is an expert in this technique told me: "One must always be watching the paper from an angle that shows the reflections: if the surface shines then there is too much water and one cannot paint. The surface is perfect when it has totally absorbed the water but is not yet dry."

Damp

watercolor painting is recommended for painting landscapes or seascapes on gray days, for urban scenes on rainy days, for fog,

Fig.

312— Here

with a break in of having

it;

is

a watercolor

a

consequence

been painted with-

out the necessary continuity.

Fig.

31

3— Guillem

Fresquet,

Na-

turaleza muerta. private collection. This

is

a classic water-

color or dry watercolor.

As

such, the boundaries and outlines of the objects are clearly

delineated, but to create at-

mosphere the

and so on.

down

artist

the shapes

ground.

313

132

312

in

has toned the back-


wet watercolors Fig.

314-Aida Conna, Marsh

(First

medal

tumn

at the XLVII

Au-

Madrid).

Exhibition,

Swamps and marshes plains like this are

on an excellent

subject for painting

wet

tercolors. beautifully in this

in

wa-

achieved

which combines without shapes

picture,

diffused

boundaries with a number of concrete profiles, and some fore-

ground

shapes

which

are

perfectly defined.

314 Fig. Life,

315-J. Martin Anton. Still private collection. The un-

deniable

artistic quality of this

watercolor stems in large part from the use of the wet-in-wet

technique The author, a teacher, painted this watercolor as a demonstration for a course organized by the Catalan Association of

Water Color

Paint

ers.

.vA&MbA AvVtTV*

315

133


synthesis Giorgio Vasari, the fabulous chronicler of the Renaissance, compared the styles of Donatello

and Luca

writing in 1550:

della

Robbia

"The same

this

way when

feeling of beauty

and vigor may frequently be observed in those rapid drawings which arise out of creative frenzy and are achieved with a minimum of lines, while an excess of industry and patience on the part of the artist who will not leave well enough alone robs the work of force and freshness."

In

all

periods, but

more

was greatly admired, and served as a lesson to the great masters of Impressionism, such as Manet, who traveled to Madrid to see and copy it first hand. And speaking of Manet: on August 10, 1907, the writer Georges Jeanniot explained in the French magazine La Grande Revue that he was with Manet when the latter painted The Bar at the Folies-Bergere. "The model," wrote Jeanniot "an attractive woman, posed behind a table filled with bottles and food. Watching Manet paint, I became aware

so since the Renais-

of his masterful simplifications. Everything

the need to

was abbreviated. Later Manet told me: 'In art, synthesis is a necessity and a mark of elegance.

sance, the great masters have

felt

synthesize in their drawings and paintings, to

summarize, to abbreviate. The famous "shorthand" of Velazquez, who painted a rose with fewer brushstrokes than there were petals,

Squinting the eyes when synthesizing. Sargent, a master of synthesis, at one time had a few students to whom he repeated the follow1.

"Always cultivate your powers of observation. Learn to see the model through

ing lesson:

terse man makes us think, the loquacious one bores us.'" The watercolors of John Singer Sargent are a

The

Fig.

31

7— In

this

the landscape mally.

is

The minute

photograph viewed nordetails of the

windows and doors can be appreciated, as well as the leaves

on the plants, and the trees and shrubs in the foreground.

squinted eyes."

Wherever you

are, if you look around you with squinted eyes, you will automatically cut out details, seeing only the large volumes, the large masses of color. Squinting, as you know, is simply looking with the eyes almost closed, maintaining a certain tension in the eyelids (see the adjoining illustration) so that the objects lose definition and appear blurry, sort of like a camera out of focus. It is good to get into the habit while painting, of occasionally looking at the model with squinted eyes. This will

Fig.

31

8- Here the same

land-

viewed as if the eyes were half closed The merging scape

is

of small forms, diffused shapes,

and details

elimination

make

it

preciate the bodies sis.

316

involve adopting an attitude which will undoubtedly develop your powers of observation

and

synthesis, essential for

or painting.

134

good watercol-

of

small

possible to apin

synthe-


example of synthesis. Sargent began studying drawing and painting at fourteen years of age, first in Florence and later in Paris, where he learned of the painter Charles perfect

Carolus-Duran. Carolus Duran taught his students to see and paint spontaneously, au premier coup as he put it. According to Sargent's biographers, Carolus Duran would repeat over and over again to his students the following rule,

which

I

want

to

emphasize

319— Velazquez, La InfanMargarita (detail), The Prado, Madrid. take the liberty of saying that assure you that Velazquez looked at the model with his eyes half closed to Fig.

ta

I

I

achieve

this

ner," as his

"abbreviated manfirst

master, Fran-

cesco Pacheco, called

it.

in boldface:

All that is not indispensable is prejudicial.

Synthesis in drawing and painting is expression with fewer lines, fewer brushstrokes: "corseting the details" as Ingres put

involves looking at the eyes, painting with a

it.

Synthesis

model with squinted

wide brush. 319

2.

320—

Fig.

Synthesizing using a large brash

This factor also has to do with your attitude, with a predisposition to summarize and interpret, difficult to obtain when painting with a fine brush, since the latter may lead you to feel an obligation to explain the small details, the intimate aspects of the shapes. Paint on rather large paper, don't paint small paintings,

you work with brushes you will

If

small, fine

paint

small,

things.

A no.

may

finelv

detailed

3 or a no. 4 brush be used for painting a

super-realistic area, but

I

take

the liberty of saying that superrealism

is

not appropriate for

watercolor painting.

and

paint with a large brush.

David Cox, the English watercolorist of the last century, wrote some books and treatises on watercolor painting. In one of them, according to his biographer Solly, he wrote: "I like to work with a wide brush, very damp and as full as possible of paint."

Synthesizing by painting rapidly have found, from my own experience, squinting and painting with a broad brush on a large surface an attitude that favors creativity: looking at the model— rapidly turning the head to look at the painting—the typical gesture of leaning back and stretching out the arm— making a rapid 3.

320

I

stroke with the

brush— again squinting

321

at the

model— returning to the painting and adding a new color with actual fever, etc., etc. A procedure encouraging rapid painting— alia prima, or au premier coup—and carrying within it the very idea of synthesis in painting.

Fig

32 1 -John Singer Sargent.

The Bridge of Sighs. Brooklyn Museum. In an authentic wamust be possible to tercolor see the transparency of the colors, the effect of the water and the action of the brush The synthesis of forms and colors must be obvious, as well as the it

spontaneity and freshness of a

premeditated but rapid resoluThis is what you see in

tion.

Sargent's watercolors, the

immediacy

strokes

is

where

of the brush-

evident

135


synthesis

and

interpretation

322

"In art there are two paths: one is architecture and allusion; the other realities as the world shows them." This quote from the Spanish playwright ses in a

Ramon M.

del Valle Inclan expres-

few words the two options an

artist

has: a) Painting reality, limitng oneself to the

and copying the forms and colors just as they appear in the model; or b) Painting the architecture of Nature and the construction of the model by seeing them and interpreting them in your own way, even modifying reality. The choice between these two options leaves no room for doubt: artists have always tried to paint their paintings, making an imitation of nature

effort to see the subject matter in their own way. In his "Diary," Eugene Delacroix defends the use of allusion in a discussion of the choice of subjects, saying: "You are the subject, your impressions, your emotions when confronted with Nature. You must look and see within yourself, not around yourself." The idea of painting a painting as one sees it 136

"from within" has been predicated by many artists, from the primitives to contemporary

"The primitives did not imitate Nature: Rubens and even Raphael, the classiinterpreted much more than they copied,"

artists.

Titian, cist,

"We

see Nature as something must see and paint it as something fantastic and fabulous," said Chagall. "The painter must set down on the canvas his internal impressions and visions," said said Bousset.

routine; the artist

Picasso.

see the model in synthesis, to interpret, modify, change... that is what makes true art!

we must

bring the creative capacity

into play.

would say it is a new we wish to change, and this attitude crystalizes, becomes effective through imagination and fantasy. Fischer analyzed creative fantasy in his work Art and Coexistence and arrived at the conclusion that creativity depends on the capacity to represent and But, what

322- Paul Cezanne. Still Life

with Blue

Norton TiAngeles At the beginning of the cenVase.

mon

Collection. Los

tury,

when Cezanne was

al-

ready sixty years old (he died when he was 67). he painted by suggesting rather than constructing forms and colors

These pictures are fine examples of synthesis and personal success is Cezanne's ability

interpretation Their partly

due

to

to continue painting h/s picture

hours (Cezanne was slow), without allowing himself to be for

To

In a word:

Fig.

is

creativity?

I

attitude toward something

influenced by the changing forms and colors ot the model, as the hours passed


323

the capacity to combine. In applying Fischer's theories to artistic interpretation that: a)

the

From

the

moment

artistic possibilities

the

we may

artist

from a

film, etc.

Recalling these images, the tasizes, modifies,

exaggerate, intensify

artist

and changes.

initial

idea for the painting tends to

when

the appearance of the real model, sadly, invades and dominates the mind of the painter." Cezanne was one of the few

evaporate

dreams, fan-

artists

And

the model's real appearance.

b)

capacity to represent an idea different that offered by the reality of the

these and other theoretical and practical concepts are useless if, as Bonnard puts it: Still,

"The

The

323— Julio Quesada. de Siguenza.

Tie-

private col-

The Spanish artist, Queknown to be a master of synthesis and interpretation, but it is necessary to see his work to appreciate the intelligent abstraction of forms and colors achieved with just a few colors and brush strokes. He sada.

is

represents

figurative

magnificently,

reality

and shows com-

plete mastery of the watercolor technique

who knew how to resist the seduction of

from

model causes

way to the subject that the "sees" with his inner eye. From there on, the artist combines what he is seeing with

this reality to give artist

what he sees in it, discovering combinations of reality and memory studying new possibilities... and believing. All very abstract, perhaps, but here are three

concrete techniques for interpreting:

Fig.

rras

lection

nullify

of the model he recalls

pheric effects seen in the past, chromatic harrecalled

real,

Reduce: decolor, soften, Suppress: eliminate, cover,

analyzes

representations of other images he has seen and recorded because of their impact, beauty, and personal style. For instance the colors used by Van Gogh, Cezanne's forms, atmos-

monies

Augment: make

say

have a firm idea of what

I plan to do with only accept from Nature what is in keeping with my ideas, my forms and my colors, according to my initial conception of the work."

"I

the subject matter, and

I

This isn't exactly a magic formula, but it is the only one I know for synthesizing in painting, and for interpreting the model according to one's own personal conception. 137


thumbnail sketches Thumbnail sketches Take an ordinary, medium-grain 20 x 15 cm (6" x 8") drawing pad and a 2B lead pencil, or black felt tip pen or ballpoint, and go today, tomorrow, or as soon as possible, to a place where you can make thumbnail sketches of the people passing by, children playing, cou-

down, drinking a refreshdone this, or are doing the following paragraphs. But if

ples talking, sitting

ment. it,

If you've already

fine, skip

you

still

ing, live

haven't experienced thumbnail sketch-

from Nature, don't delay, don't lose

"How

wonderful," said Picasso to his friend Genevieve, "that a simple stroke can represent a living being, and not simply his appearance, but what he really is!" All professional artists make thumbnail sketches. A short while ago, I was in Lisbon and made a few rough drafts while wandering the streets of the neighborhood of Alfama. Now I will be able to convert these drawings into paintings. "What about the camera?" you might ask. "Why not paint from photographs taken of the same model?" Well, it just isn't the same. I take photos to serve as documentation and to remember. But an artist's sketches are better than photographs, because you and I the opportunity.

324 A Figs.

324 A and B-On the

right

we

see a rough lead pencil sketch of a street in the Alfama

quarter,

in

Lisbon.

Above

is

a

photograph of the same street used as background documentation for the sketch

Compare

the two images, noting

in

the

rough sketch the variations the artist has made interpreting the subject.

324 B Fig.

from

325- Eugene Delacroix, Album Sketches of Mo-

rocco, Louvre, Paris. This

famous "Diary" croix

in

is

the

which Dela-

made watercolor sketches

and

entered written notes concerning places and people, during his trip to North

Africa in

1

832

This journey

and

the documentation recorded

in

the Diary on Arab themes,

is

reflected paintings.

138

in

many

of his fine

1|


can synthesize.

We

reduce, supress,

remember and

can interpret, augment, a

camera can-

is

useful in

is

painting.

When

often

imperative in watercolor

the subject

is

a cityscape, for

example, and it is necessary to include some people in the work. One must always have the

not.

Making thumbnail sketches

drawing

many

and capabilities to draw and paint and to be able to include figures which add to the reality of the subject.

ways. "Making sketches is like sowing seeds, in order to harvest paintings later on," wrote

training

Van Gogh

will

easily,

Theo. In 1832, DelaNorth Africa carrying a diary which he recorded with brief notes and to his brother

croix traveled to in

watercolor sketches, the architecture, native dress, sky colors, trees, and land of the places

This was for him, a tremendously rich resource of subject matter, from which he drew a fantastic series of paintings about the daily lives of the Arab and Jewish communi-

he

rough 326— Making sketches of people walking,

Fig.

visited.

order to "keep

draw and Q_

r

without

\

ties. I repeat: making thumbnail sketches is useful. There are drawing fairs everywhere, sometimes set up outside, where drawings and sketches are sold, and there are editors looking for sketches to publish in books of poetry, instructional books, and so on. But most of all, sketching is useful because it constitutes a dynamic exercise which renews and affirms the capacity to draw. Furthermore,

chatting, relaxing,

•

-

^

paint

is

in

to

do

in

form" and

human

difficulty,

you decide

essential

figures

whenever

a watercolor.

i

|

^

326 Fig. 327— In order to make my outdoor rough sketches more

complete and serviceable, paint

when

in

some

I

of the figures

get back to the studio, and then file them away as background for future paintI

ings.

139


thumbnail sketches 330

329

)

Figs 328. 329.

and 330-Gui-

late painter

and

ras,

made many rough

sket-

ches, exhibiting his extraordi-

nary

skill,

and unbounded ca-

A rough skecth such as this took no more than twenty minutes for Lloveras. pacity for work.

331

140

The

original

every day to a public park to

proximately half the size of the

sketches.

Some

he paints on the spot, while others he paints in the studio using the rough pencil sketches

331— The

basis

rough sketches measure ap-

make rough

Fig.

his

Fresquet goes almost

llem

friend of mine. Federico Llove-

as

.

reproductions, which in

some

them

is

why,

cases, Fresquet gives

to his dealer to sell as

small paintings

•«v **£%£*.•

^)

1

m

m

watercolor -^r

^B

t

*/

itTsiiiiiTirti mM

frw4

1

..

'The pencil has to be always

in

your

hands." Sir

Joshua Reynolds (1723-1792)

WATERCOLOR PAINTING

the To

human

discuss drawing the

book

require an entire

PRACTICE

figure

human

figure

in itself (in fact,

written such a book, entitled:

Human

IN

would I

have

How to Draw the

the same, this book wouldn't be complete without a discussion of the human figure as painted in watercolors. So All

Figure).

upon the principal points here: of the major difficulties in drawing or painting the human figure is the problem of let

us touch

One

dimensions and proportions. Fortunately for and more particularly Praxiteles formulated an idea of beauty for men and women: a canon of eight heads high by two heads wide. See fig. 333, for the comparative canons of men and women. Observe the following differences in proportion between the two sexes: us, the sculptors of ancient Grece,

a)

Women

have proportionally narrower

shoulders b) Their breasts

and nipples are somewhat

lower c)

Their waists are somewhat narrower

d) Their bellybuttons are slightly lower e)

Their hips are proportionally wider

Seen from the side, the buttocks extend beyond the vertical plane drawn from the shoulderblades to the calves. In order to draw or paint the

human figure, it is

necessary to know artistic anatomy, or as Ingres put it: "In order to express the surface of the human body, one must first understand the interior structure." Structure and movement may be studied using a jointed wooden doll,

and molding may be understood by look-

ing at the plaster casts of classic sculptures.

But of course, neither these nor any other

means of working and sed.

quality of a

Here the

will

compare

to the truth

human model, nude

artist will find, as in

or dres-

no other

subject matter, the opportunity to express his artistic capacities.

333-This Fig. shows the norm portions for the

Fig.

the

human

body,

334-The habitual study of human body by drawing

and painting from

life— apart

established as eight heads high

from the fact that

by two wide. Apart from the

the greatest artistic merit— is

fact that the

woman

is

shorter,

compare the basic differences which distinguish the two sexes. proportionally,

r

illustration

or ideal pro-

it

represents

essential, in order, for

to paint a

clothed. in this

example,

human being when

Leonardo da Vinci said

respect: "Clothing

must

not appear to be uninhabited

There must never be a heap of cloth or

142

gown without support."

334

WATERCOLOR PAINTING IN PRACTICE

336

335

337

< v..

The clothed

:.

figure

in

watercolor 335-1 begin with

Fig

a line

drawing, and then give a first coat to the dress, taking care to leave the folds blank, working

the tonal variations from

light

to dark.

Fig.

336—

I

paint the face, arms,

and feet with a flesh color, but do not put in the features yet. give a first coat to the hair and I

then rapidly construct the back-

ground with a first coat of patchy ochre and a scond darker coat

made

of Prussian blue,

dark sienna, vermillion, carmine,

and green.

Fig.

337— Now can work with I

greater safety on the coloring of

dancing

the

shoes, the

her

figure,

floor...

Fig 338—... leaving for last the

features of the face, the shad-

ow

cast on the ground, and

touches. For the dark-

the

final

est

shadows

in

the dress

I

use

Prussian blue, for the lightest, cobalt blue

dark

mixed with carmine, and ochre.

sienna

I

have painted with mediumgrain Arches paper in a block of a size almost twice this reproduction, using tube watercolor and sable brushes sizes 6. 12, and 14.

338

143

a

WATERCOLOR PAINTING

the

human

IN

PRACTICE

figure

Portraits

Painting the

human head

requires constant

and drawing. It is a specialty. But there is also a canon of ideal proportions which facilitates construction and drawing. See the adjoining study of this canon and notice its usefulness when you begin to draw a practice sketching

You

example: in all faces, the distance between the eyes is equal to the width of another eye; the location and height of the top of the ears coincides with the eyebrows; the bottom of the ears lines up with the point of the nose, etc. A good portrait should be an exact likeness, but should also be a work of art unto itself. The resemblance depends on the features of the physiognomy, and this, according to Ingres, "always offers a caricature." This same great portrait.

will notice, for

painter offered the following practical advice to his students.

— The body should not follow the movement —

Fig 342-1 draw a great many heads making rough sketches from live subjects, copying

of the head. Before beginning, chat with the model so as to get to

know him/her

from magazines, television—

better.

very entertaining experience.

— The —

eyes must be drawn as if they had no importance. Avoid an excess of reflections.

portraits.

339

Canon

for the

human head

fig. 340 and 341 you can see two male heads, one front view and one profile. Both are drawn according to the canon or ideal dimensions and

In

proportions for the human head. Figure 339 shows the process to follow for drawing a front view of the human head according to the canon. Observe in A and B that the rectangle

which encloses the human head is shown as three and a half units high (A), and two and a half units wide (B). Notice, finally, that in the front view shown in fig. 340, the eyes divide the

height exactly in half and the nose symmetrically divides the width. In order to draw a human head or portrait,

the basic lines which you should

recall are letters a, b, c, e,

340

144

I

have drawn a great many heads in order to be able, afterwards, to draw and paint good

f,

and

g.

d (center),


343

344

^'»<3

/

345

/

y

347 Fig. 346-While wet. merge the dark color of thi

Painting a Portrait in

Watercolor

face with the color ol

343-1 draw the sub-

Fig.

ject using the

norm (A) as make the

reference, after

I

golden gleam of the spectacles (C) by reserving this spot with masking fluid.

I

I

colors of the eyes.

by painting the

344- First

paint a gencream-colored wash, leaving blanks on the right Fig.

thi

background give a first coat and some shaping to the hair, eyebrows, and moustache. sketch the mouth, and suggest the I

finish

shirt.

I

eral

hand side

Fig.

347- Final

work: To

ish

the

remove the and paint in

hair,

masking

I

fluid

fin-

the spectacles with sienFig. 345-1 paint the bright and dark colors of the face

without going into

tone

down

this

detail.

I

dark color

and yellows. moustache, the mouth, and while still wet draw the eyebrow and eye on the side of the face in shade... and nas, ochres

I

paint the ears, the

I

with the brighter colors of

the forehead, nose, chin using a flesh color made of ochre,

346

vermillion,

touch of prussian

just

leave

it.

a

blue...

carmine.

145

WATERCOLOR PAINTING

human

the

IN

PRACTICE

figure 348

349

The Nude A good watercolor reflects the unworried, spontaneous, creative freedom of the artist. These qualities are difficult to attain in a painting of a

nude done

when one

is

in

watercolors because usually

painting one worries, "should

I

go on? is this finish sufficient?" and this excess of fear and premeditation shows up in the painting. What can we do about this? Practice sketching; then approach the painting as if it were one more sketch. Because a sketch is the maximum leave

it

like this?

should

I

expression of artistic learning, a sort of miracle

born of an unforeseen adventure, of "totally without worry; with spontaneity and absolute liberty."

Always draw and paint your sketches using a

model—a man or woman, friend or professional—who will pose for a couple of hours. I would suggest using a professional, someone with a natural gift for posing. Read the art magazines and look into the possibility of getting together a group of two or three artists —no more—to work together and save money. Then plan each session, thinking up five or ten-minute poses, for rapid sketches, and onehour poses for more detailed studies.

WW

/

mm Figs.

to

nudes,

is

tistic

dio,

ing from a single opening, a broad glass window

35 352- Every day GasRomero goes to an art .

school where there is a nude session and draws and paints

these

"It is

the best kind of practice to keep in

146

form" the

artist

assures me.

my stu-

appears to be illuminated

with daylight from the side, com-

351

like

knowledge. This profes-

sional model, posing in

'A rough sketches

paint

model who has knows the classical positions and can take up these positions naturally and with ar-

,'7

1

draw and

best to work with

experience,

1

par

it

a professional

350

Figs.

348. 349. 350-While

learning

352


Gaspar Romero paints the Nude Fig.

in

Watercolor.

353- Romero first sketches

the model with very

light lines,

making a sort of initial framework. From this with increasingconly more intense lines, he structs the final drawing. He almost never uses an eraser.

353

355

354

356

Fig.

354

with a

The gouache

artist

painting

of a light flesh

colour that he extendes

all

over

mine for the piece of furniture and cobalt blue for the upholstered seat.

the body. Next he applies a dry

brush to absorb colour, "open" spaces and work over the modelling. The artist also uses a piece of blotting paper that he hand.

He

quickly paints the hair with

ul-

keeps next to

his left

tramarine blue and sepia.

355. He goes over the body with a stronger flesh col-

Fig.

our containing a little cobalt blue. With this colour and a dry

357

brush to absorb extra water now and then he works over the modelling. He uses Hoocker green to paint the background next to the head, burnt umber, Hoocker green and car-

Fig.

356 and 357. Always number 12 brush,

using just a

extending the flesh colour that

now

has

slight traces of car-

mine and blue, and absorbing now and the either with a piece paper or a dry brush, Gaspar Romero reaches the of blotting

stage in deep concentraand feverish activity, modelling and finishing parts of the body, face features and so on. He stops when he signs. He has taken 40 minutes all in

final

tion

147


painting skies

and clouds

In the English countryside, near Suffolk, at

9:00 a.m. on September 15, 1830, the sky was

At about 11:00 a strong wind came up out of the west which rapidly filled the sky with a partial covering of storm clouds. clear.

John Constable was there, painting the sky and clouds in watercolors (fig. 358). On the back of this watercolor, Constable made a note of the place, day, and hour that these clouds appeared in the sky.

The

sky has drawn the attention of

many

Constable said: "The sky is the source of Nature's light; it rules the entire landscape." artists.

Alfred Sisley, the French Impressionist paint-

considered the sky to be a very important part of a painting: "I always begin with the sky; the sky is not a simple backwash, a shiny abyss. The sky is brother to the plain, and is composed of planes just like the earth. It forms a part of the general rhythm of the er,

painting." 35£

Of course

the sky

is

important and worth Fig. 358-John Constable Study of Clouds above a Broad

studying.

Landscape Between 11 and 12 in the Morning — September 15. 1830 - Wind from the West. Victoria and Albert Mu-

There are skies and skies: clear, smooth skies which may be easily finished with a simple wash, remembering only to lighten the color in the lowest part of the horizon. There are clear skies with soft curlicues of clouds which look like cotton, also easily finished by absorbing paint and "opening-up" the white of the clouds with a clean damp brush and some absorbent paper tissues. In very wide skies in large watercolors, the white of these clouds may also be opened up with a sponge. But then there are skies

like

seum. London. Constable painted various watercolors of clouds on the backs of which he recorded the type of wind and the date and time when they were painted. His consistent interest

was

nature

in,

and study

translated

of

into

painting the best English land-

scapes

of his time

those Constable

painted, or skies with big, full-bodied

cumulus

359

clouds; with brilliant lights and soft shadows,

sometimes combined with stormy, dark gray clouds... and these skies aren't so easy. All the same, they are perfectly possible. There are, in

my

one of these

Construction.

A

skies:

sky with concrete clouds

Volume and color. Carefully study the location of the sun and the direction of the light, observing, that the sky-blue color, whether 148

to

volumes.

cannot be improvised, and shouldn't be painted without first preparing a well constructed line drawing which shows where and how each shape begins and ends: a calculated drawing, unhurried but without pauses. 2.

360- To begin, is make rough sketches,

359.

it

life studies, and studies of skies and clouds, using a lead pencil on white paper In addition, draw skies and clouds with a carbon pencil stump, and white chalk on colored paper, studying the varying shades and

opinion, three basic factors necessary to

paint

1.

Fig

good

360

WATERCOLOR PAINTING

PRACTICE

IN

363- paint the top of the clouds with different shades of Fig.

1

gray, basically ultramarine

and

dark Sienna, but mixing

car-

mine, ochre, cobalt

364—

Fig.

blue...

intensify

I

areas, particularly the

and darkest I

finish

in

some bottom

part of the clouds.

the clouds and outline

the color of the landscape;

I

moisten the sky at the horizon and working wet-in-wet, paint I

V

the blue

T--

and 361

hill

in

the background

outiline the

two

trees

in

bright green.

362

Watercolor study of sky with clouds. Fig

361 -A rapid but confident draw-

drawing— unfinished ings,

use

badly done, are of no

for our

purposes.

marine, and just a suggestion of

ochre— outlining the block of

clouds and leaving a number of blank areas within. Then fuse the cloud mass together with a general blue, creating only slight variations of tone I

and

color.

On the fringe, where

the sky joins the horizon, Fig.

362-

begin with the blue

of the sky- Prussian blue, ultra-

I

light-

en the blue with water and add just a touch of yellow.

Fig. 365— continue with the landscape which suggests a dominant warm yellow-ochre, I

but including carmine, bright

green, purples, and blues. finish,

I

To

paint a very bright glaze

and yellow on the clouds to give a warm tone, which blends with the domiof ochre

nant quality of the landscape.

363

364

149

WATERCOLOR PAINTING

IN

PRACTICE

painting skies dark or

and clouds

outlines the luminous white of

light,

We

the clouds and acts as a background.

should notice that often the gray colors of the shadows in the clouds are lighter than the blue sky of the background, and we must constantly compare the values of these grays and see the blue, pink, and golden tendencies of these shadow grays, so that the clouds will finally

become

Fig.

366— In

this

high

moun-

have painted a classical sky with clouds on a luminous day where the gray shadows of the clouds are

tain

landscape.

I

brighter than the blue of the sky. The intensification of lights and shadows, without sliding into the latter,

is

very import-

ant

real.

we should be aware

of the watercolor techniques required in each instance, previously reserving whites, outlining illuminated parts, with the sky as the background, attaining the forms of the model, modeling with tones acheived with the brush and absorbent paper, daubing here, adding there, working and painting with real drive—and with real urgency, because the clouds literally fly away!— without losing sight of the model, without losing the white highlights which define the basic characteristics of clouds. Technique. Finally,

3.

"The sky comes

first,"

said Sisley,

and

all

professional watercolor artists begin with the

sky

when

painting landscapes.

And

they do

it

absolutely without worry, joyfully and with

though making a bet with themselves: "I'll bet I can! I can paint this cloudy sky with a few brushstrokes and a few dabs of absorbent paper.'" And they do it! They succeed! It is a daily game: to start with the sky without thinkguile, as

without bother, without the fearful conciousness of an amateur. "And, if it doesn't come out, I remarked to one of my students, leave it and start again." ing,

36

Agreed?

367-Federico Lloveras PaReal (Madrid), private collection. Here, an overcast Fig

lacio

sky

is

painted wet-in-wet with

applications of grays, perfectly

controled by the

artist

which

allow the sky to have a very important

role,

conditioning the

Fig. 368 1- Cefenno Olive. Arenales (Riudoms). private collection Cefenno Olive painted this dramatic landscape with a range of warm colors, working with coarse brushes in long and broad strokes, blending, absorbing, always

color of the urban landscape

"straight off", giving

which he has resolved with a

ing, staking

range of pale color.

150

it

everyth-

everything

36

WATERCOLOR PAINTING

IN

PRACTICE

Sky and clouds with a special range of color Fig.

369- Having

sketch,

I

lay in a

finished the

uniform

wash

ochre made to look dirty with just a whisper of blue and dark sienna, reserving white areas for the houses of the town, to be painted later. of

Fig.

370-Once

ground it

is

dry,

Fig.

with a last wet application

I

finish

the sky

same

color,

in

more

finish the sky and complete the plots of land and roads of the town

sienna, blending to bring

out parts of the clouds.

With

372—

the backpaint over

darker with

using the

made

I

Siennas houses and some

different

paint the

the bottom areas of the

clouds.

I

I

Fig.

373- For the

finishing

touches use a fine ball point pen with which draw

areas of the ground.

I

I

Fig.

I

paint the

a

number

of the lines of

color of the sky using ultra-

the houses, the roofs,

marine, carmine and och-

furrows

re,

373

371-Now

brightening the color on

some

in

the

some

ground

figures, etc.

reaching the horizon. conI

tinue with the houses, the

shadows, and the

roofs.

151

WATERCOLOR PAINTING

IN

PRACTICE

painting trees The

first

remember when

thing to

painting

have a structure, a skeleton; they are trunks and branches with a covering, trees

is

that they

a clothing

made

important.

If you

of leaves.

The

draw or sketch

skeleton

is

trees without

leaves, in the winter, with only the scaffolding

of the bare branches, not only will you have a great time, but you will also rapidly learn to paint trees. And if you afterwards dedicate a good deal of time to drawing trees, bushes, and thickets, as Van Gogh did continuously, you will learn to paint trees placed far in the distance, or set up close in the foreground.

There are no tricks or secrets, only careful observation and understanding: branch groups extend from the trunk, leaves form clusters which determine the effects of light and shadow on the colors and forms of the tree. The combinations of trunks, branches, and leaves are sometimes broken up, leaving spaces through which we see the light of the sky, illuminating their dark silhouettes.

must

paint

them

And we

as they really are: with blues,

and ochres (trees have a lot of greenochre color) in the top part, and with more green than yellow, more blue than ochre in the lower part, which is in shade and reflect the color and light of the earth. Tree trunks have the forms of small spheres or cylinders which are illuminated from above. When they appear alone or grouped together in the distance, they are always darker than the meadows and fields around them. yellows,

The next time you them...

are in the country, look at

and paint them.

Figs. 374, 375- Making good sketches and drawings of trees

without leaves for

is

good exercise

drawing them with greater

familiarity

Fig.

376- Here

trees seen

in

are

several

the middle dis-

and colbeen resolved using

tance; thus their shapes

ors have

synthesis

Fig 377-A step-by-step demonstration of painting a tree seen in the middle distance, using only a few strokes to sug-

\ 377

152

gest form and color

WATERCOLOR PAINTING

Painting a landscape

Fig.

with trees.

uniform color

-X-

379— First,

Fig.

378— Drawing

trees

in

the

applications of

in

es, with certain

foreground of the drawing, like drawing clouds, is not some-

:

PRACTICE

IN

diluted washshades calcu-

lated to enrich the color

380—1

Fig.

resolve the sky, the

thing

you can half do, unless you have extraordnary exper-

clouds, and the background of

ience.

the

gray and blue mountains using

wet-m-wet technique.

n

382

381 — paint the tree

Fig.

in

1

the

foreground, resolving the shape

and color

the

of

groupings

of leaves, painting at the top

with greens tending to ochre,

and at the bottom with greens which have a blue tint paint the trunk and the branches of the tree, as well as the shade it I

casts— without completing it. resolve the fragment of a house which appears on the left-hand I

side,

casts.

as well as the shade it intensify the foreground I

colors,

and

to the fields in the

middle distance, add a pink and an ochre green. I

Fig.

382-

ow

in

tree,

I

finish the cast shadthe foreground by the give a first application, 1

both drawing and painting the tress

ow

in

and bushes

in the meadthe middle, and paint a I

number

of

dark

highlights

which enrich the foreground.

Fig.

383-1

finish

the

ground and background intensify a

number

and add some

foretrees,

of colors

finishing touch-

es.

383

153

WATERCOLOR PAINTING

IN

PRACTICE

painting a landscape In these pages

we

you

A

begin a series of exercises

for watercolor painting in which, step

by

in

watercolors

very personal technique

All watercolor professionals that

step,

I

know

of,

including myself, use absorbent papers, raw

be able to study the resolution of several paintings painted by several artists. The first of these watercolors was created by the renowned artist Ceferino Olive, who has been awarded several national and international prizes, for his watercolors, now found in will

cotton, a cotton rag, or a sponge, in order to

discharge or absorb liquid, color, or the water

from the brush. Ceferino Olive is different. Instead of a water jar he uses a water bucket like one used for mopping floors. He places

Fig. 384-Cefenno Olive, a famous watercolor veteran with

innumerable prizes and with works in museums and collections throughout the world, is an example of commonsense. sobriety and simplicity, which is

why

a look at his studio

instructive for us. "All

my

is

life

I

have painted in the open air," he tells me, have painted in almost all the cities of Europe and have always done it with the same equipment: an easel to hold the board with the paper, a seat, and a case in which I

museums and

the water bucket beside him, next to his chair. In order to wring moisture out of the brush.

private collections in France,

England, Germany, the United States, Japan Italy and elsewhere. Ceferino Olive is a professional veteran, a partisan of pure watercolor without stains, without liquid glue or

wax

paper, nor does he strips

pencil.

mount

He it

I

studio,

to

with glued paper it.

carry the colors

for painting.

doesn't wet the

(paper tape) in order to tighten

I

do

and

utensils

never paint

in

the

sometimes have then prefer to work

and

it.

I

if

I

I

under exactly the same conditions as when paint in the open air." And so it is that in one of his studios, apart from a large table and a bookcase filled with books, there is no other equipment other than an easel set at a 45° angle, and a small low

He

I

uses, exclusively, thick brushes

made

out of ox hair, of such high numbers as 12, 18, 24 and 30, each with a special handle, as long as that of

an

He

oil

brush (30 cm).

paints with tube watercolor; using a metal

palette, like the

one reproduced

in

table.

page 63,

It

is

we

that

within this very place

see him signing a

painting.

and works with a three legged atelier's easel. He paints with the paper in an almost vertical position. 384 385

Fiq

385— Ceferino Olive. Smo-

key Tunnel, private collection. Here is a good example of the style of Ceferino Olive, in its composition, harmony of color,

technique, and drawing or

construction, truly

154

enviable

all

of

which are

WATERCOLOR PAINTING

IN

PRACTICE

386-Observe this special manner of holding the very end

he shakes his arms with the brush on his hand, as if he were whipping, as if sprinkling, spattering water on the floor which he covers with wrapping paper to avoid wetting and dirtying it. It is to be noted, as well, the way in which he holds the brush very high up, with the handle

Fig.

of the brush handle which, ac-

cording to Olive, obliges him to paint at a distance, free, with-

out ever falling into the pitfall

fatal

discnbmg small de-

of

tails.

inside the hand. shall see as we follow the development of his painting, Ceferino Olive is everywhere when he paints: looking at everything at once,

As we

painting sometimes here,

sometimes

there,

indeed everywhere at once, and in this way the painting advances progressively toward its final stage.

drawing (Fig. 388) Ceferino Olive draws with a no. 2 regular pencil. He keeps at hand a very soft kneaded eraser which is a dark gray color though he practically never uses it. He uses fine-grain paper which he secures to the drawing board with four metal clips. This watercolor is 70 x 50 cm. He draws with the pencil stick inside his hand, rapidly, with very few lines, rapidly sketching the basic forms of the model without First stage: the

386

bothering with small details. What he does is to locate the basic forms: the tower in the background, the tiled roofs of the houses, the hardly indicated profiles of the trees, the thickest tree trunks. "It's all

ing."

done", he says. "There's nothing missgets the palette, fills it with

And he

colors,

and

starts painting.

Second stage: trying out the color (Fig. 389) Watching Ceferino Olive paint is a true specFig.

387-Cefermo

Olive,

Re-

flections (Castellon, private collection).

Another example of

the personal technique of Ceferino Olive,

obvious proof of his facility to cons-

extraordinary truct

and

paint

in

a

few strokes,

explaining the subject with a

language which is sober, correct, and at once different and brilliant.

155

WATERCOLOR PAINTING

IN

PRACTICE

painting a landscape tacle. In

watercolors

the sky, for instance: he charges brush

no. 24 with ultramarine blue, he dirties

from

it

with

and paints with wide

a bit of Payne's gray strokes,

in

white spa-

right to left, leaving

and with unexpected rapidity. I would dare say with fever, he plunges the brush in

ces,

the water bucket, rinses

it,

discharges the ex-

and sprinkling, and withof a second he is back in the sky,

cess water, whipping in a fraction

diluting

and degrading the blue with the white

of the paper, in a technique that looks as

if it

were wet, because of the perfect blending of some watercolors with others. And he leaves it like this with the enviable certainty that "he has solved the blue color of the sky." Now, even faster— if that is possible— as if the success of the painting depended on it, he mixes an orange and applies it to the tower and to the houses in the background, modifying it, as he goes along, with some green, gray, blue, and vermillion strokes; and in a few seconds he covers the white of the paper.

I

4

388

Third stage: determining the form (Fig. 390) One should wait a few minutes for the previous stage to dry. In the meantime, Ceferino Olive looks attentively at the sky, making faces while he holds the brush in his hand. "The sky is the roof," he says, he observes the towers, the houses...

Suddenly, he mixes a rine blue, sienna,

light gray

and

a

little

using ultrama-

gray,

and

dilutes

with water. With this light gray, he paints the whites that remain in the sky. He rinses, whips, it

He blends the grays, and...

sprinkles.

make

their appearance!

Now

the clouds

he lightens

this

gray with water, adds a bit more sienna, and solves the color of the sky at the horizon. The sky, "the

roof

is

done. This

is

how

the paint-

ing will remain.

Ceferino Olive now mixes up a sienna-carminevermillion color, and with varied but certain strokes, solves the

shadows of the houses,

and bushes in the foreground. He then changes the colors and paints the mountains in the backgrund, the green of a tree, and the grass at the edge of the foreground. With this he has resolved the forms and their volume. It reminds me of the words of Edouard Manet, who in his letter to the young G. Heannot, said: "It is in the forms that I look for the most intense light and the deepest shadow; every-

I

389

grass,

thing else

is

given to

me

in the bargain."

Fourth stage: The "maestro's phase" (Fig. 391) Ceferino Olive calls this phase the "master 156

Fig

388- A drawing,

barely

in-

Fig

389-Observe

in this

and

dicated with a no 2 pencil, already places and proportions

the subsequent stages how Olive does not paint isolated

the forms and elements of the

parts or areas of the picture,

subject

A

fact,

come more

which

obvious

following figures,

is

draws as he paints

will

be-

in

the

that Olive

but paints, draws, and shapes "everything all at once, pushing

ahead with the whole

ture at the

same

pic-

time," so that

he could stop painting halfway through and he would already have done a painting


390 Fig.

390— Ceferino

classicist; In a

Olive

is

a

previous stage

he colored the paper.

On reach-

second stage, he painted the most important

ing

this,

the

shadows of the subject, as if he were following the advice of Corot

values;

who

said: "First the

second the shadows."

cloak." "After this phase,"

he explains,

only a question of embroidering, that

is

"it's

to say,

of detailing, rectifying some forms, creating some contrasts; but the painting is finished for all practical purposes." Ceferino Olive washes the palette with water, using one of his thickest brushes. He then intensifies the color of the tile roofs of the houses with a series of vertical or diagonal lines, many of which blend in a regular watercolor area. He now paints the thickest of the tree trunks on the left with a warm gray; he applies a dirty green to the

foreground right and to the trees on the left, with wide and daring strokes, intensifying and clarifying as he goes along, opening up whites by scratching with the back of his thumb nail or the nail of his baby finger, to expose strokes of light color. To the green of the trees he adds a light red-ochre on the left hand side, always with the formula of first applying the brush filled with color, and next degrading the intense paint by means of diluting with water. At last, he leaves the piece alone.

157

WATERCOLOR PAINTING

IN

PRACTICE

painting a landscape Fig. 391 -According to Ceferino Olive this is "the master stage or phase of the painting." When this stage is finished the

painting

is already right regardcomposition, form and

ing

color.

There remain only the

possibilities, of enriching

the con-

color, of creating greater trasts...

391

Fig.

392— In

fact,

between the

painting of the previous illustra-

390. and these two more advanced stages, there

tion, fig.

has been a general enrichment both of forms and details, contrast,

and

color.

tual effort,

But the

intellec-

the uncertainty and

anguish of the painting which is taking shape, is already passed.

What

follows

now

is

an

entertainment, a true festival in

which the

carried

artist feels

away by

himself

the color and

the contrast.

392

158

in

watercolors

WATERCOLOR PAINTING

(

IN

PRACTICE

"

393

Fifth stage: almost finished (Fig. 392)

He

he paints and diagonal strokes from the tile

cleans the palette again before

the vertical

roofs, always with that loose air

which, in the long run, promotes the feeling of lively, vibrant color. He finally fills the brush with a dark, earthy color with which he decidedly resolves the foreground contrasts, placing with capricious strokes the stains left,

clarifying

some

on the trees on the

contours, as his brush

"walks" around the painting, working here and there, everywhere— except in the sky.

Sixth and last phase: final touches (Fig. 393)

remains to be done. Almost everything is finished... but the artist, after a long pause, after having looked alternately from the painting to the model, after cleaning the palette Little

and smoking a cigarette, begins making small last minute changes. He finishes the trees on the

left,

reinforces the hills in the background,

roof of the house on the left, and clarifies the bushes in the right foreground, and the reflection of the small stream. After a insists

on the

tile

Fig.

393— In

this last

ferino Olive has

he has spent a

lot

ing, observing...

ment

stage Ce-

done very

little;

of time lookit

is

of considering

the

mo-

and

re-

considering, and even of getting

up and taking a walk,

of

having a cup of coffee, before returning with the

mind cleared

to either continue or to leave it

to time: "Yes, to leave

time

is

important," Olive

it

to

em-

phasizes.

long silence, during which he looks ecstatically at the painting, Ceferino Olive says: "It's

done. Let's leave

it."

159

WATERCOLOR PAINTING

IN

PRACTICE

painting a sea port Guillermo Fresquet, the second guest

in

watercolors

artist

who is going to paint a watercolor for us, chooses a

theme on the

sea port. His experience as

a watercolor painter places

him among the

top artists of Spain; his paintings have been

awarded

in

numerous

contests

and his

extraor-

dinary capacity as a draftsman and painter allows him to paint for us in his studio, using

some notes and air as his

sketches drawn in the open

model.

Fresquet has created this watercolor from some notes taken in Barcelona port, and has added the old carriages pulled by horses that used to meander around the freight piers of twenty or thirty years ago. Fresquet uses medium-grain paper, about 350 grams. He paints with tube watercolors and a white metal, enamel palette, with compartments in the center to hold the color. He paints with round brushes of marten hair, gen-

39

and 22; he also uses the flat brush, no. 16, for backgrounds and wide gray hues. Occasionally he uses a round brush no. 14 and another no. 6 to execute lines and thin strokes. He works with two plastic flasks of water: one for the water with which he paints, and the other to clean his brush. He paints on a common table with a drawing board erally nos. 9, 12, 14, 18

slanted about 30 degrees, in a small studio, as can be seen here.

drawing (Fig. 394) Fresquet draws with an HB pencil and rarely uses his eraser. He draws with an amazing certainty, defining the forms with a few strokes, eliminating shading, drawing figures, carriages, and animals from memory and knowledge. First stage: the

Second

stage: general

background tones

395) Fresquet begins with the background. First the sky is painted using a flat brush no. 16. He starts by painting in the light orange-yellow color in the upper sections, and immediately following while the orange is still wet, he lays in the overall gray of the sky. The layers become mixed and diluted, producing the illusion of the sun on a half misty morning. He continues with the gray on both sides and toward the lower part. He may first discharge a little of the gray by wringing the brush with a cotton rag. He adds a generous rose tone to the horizon, reserving a brief thin strip of white paper (Fig.

for the sea.

With

a

warm

reflection of the sky

color he paints the on the water and land,

again reserving a few strips of white paper that 160

Fig.

394— As can be seen

this illustration.

in

Guillermo Fres-

Fig.

395- Note with

color

that the water-

which

Fresquet

quet resolves the drawing of his watercolor with consider-

paints the sky extends over the

able detail and perfection.

sea and the pools of water in the foreground have been reserved. While the sky was still wet. Fresquet used a fine brush

whole

to

picture; only the strip of

"open up" the diffused white

smoke

of the boat in the foreground and the nebulous white in the left-hand back-

ground


Fig.

396— In

colors the

Fresquet's water-

first

application

is

the

one that counts; there is almost never a second or third application Studying the development of this watercolor. in the phases described on the following pages, you will see that the forms and colors of this second stage are already definitive, and will appear as they are here in the finished picture

396

represent water puddles. Before leaving the first stage, Fresquet wets certain areas and absorbs some of the color into his brush; he diffuses the intensity of the color in the areas which correspond to the smoke billowing out of the ships.

will later serve to

Third stage: resolution of the basic forms (Fig. 396)

Fresquet works slowly but without pauses. His extraordinary experience as a watercolor artist, and his notable capacity as a draftsman, allow him to resolve the painting step by step, thinking ahead which

parts

are

definitely

which forms are on hold, and what on later, in order to finish the painting. In this third phase he paints the middle ground, super-imposed on solved,

areas he will have to elaborate

the general tone of the sky, always maintaining a perfectly harmonized color range. Observe the slight differences in contrast be-

tween foreground and background, especially on the right side of the painting, where he begins to suggest atmosphere and depth.

397 Fig.

397— The

artist

Fresquet working

in

Observe that the which he paints in appears to be very clined, some 20° to

Guillermo his studio

board on the studio

steeply 25°,

in-

and

is

supported in a very rudimentary manner. What is more, the studio

is

a very small

room

161

WATERCOLOR PAINTING

IN

PRACTICE

painting a sea port Fig.

398-So

painted

far.

planes, that

is

in

to say. resolving

the background

and

Fresquet has

watercolor

this

first (fig.

396).

now superimposing

a nearer plane as on the house curtains of a stage.

Fig.

399— Fresquet

continues

with the idea of working in planes,

working

in

areas, contrasting

tuating

the carriages

foreground nearer

162

specific

and accen-

to

bring

in

the

them

in

watercolors


400 Fig.

400— At this point compare

the various stages with finished

painting;

shades used

in

the

study the

the range of

pale colors, the resolution of

the planes, creating the idea of

and atmosphere; note the contrast between tones and how they

a graduated distance

are accentuated

in

the nearest

forms; Notice the synthesis of

forms and colors, particularly obvious in the figures and carriages; and, finally, enjoy Fres-

quet's easy

way

and spontaneous

of painting a watercolor.

Fourth stage: emphasizing the depth (Fig. 398) In this fourth stage Fresquet defines distances with color. He intensifies some colors in the

middle ground formed by the crane and the ship on the right, but leaves the more distant forms in light gray, and in the more sketchy drawing of the last stage. With more color and detail he defines the horse and carriage in the foreground, but leaves the activity in the distance, in a penumbra of shapes and colors.

The

color range

is

Fifth

and

last stage: final

touches (Fig. 399/400)

We have divided the final stage into two steps understand the order of these last touches applied to resolve the painting. He begins by defining the carriages and animals, in order to

in great detail, especially the figures in the

foreground. He adds figures, shadows, some small shapes, the ground in the foreground, the reflections in the water puddles... and his signature.

kept to sepia, ultramarine

blue, Payne's gray, green... painting loosely,

with plenty of water. 163

WATERCOLOR PAINTING

painting a Gaspar Romero

is

IN

PRACTICE

seascape

the author of this luminous

watercolor, painted

on the dock of a

sailing

club.

Until a short while ago, Gaspar

Romero was an became

excellent amateur, but he recently professional,

and has

for

some

a

in

watercolors

of synthetic and sable hairs recently introduced

by Winsor and Newton, in nos. 6, 8, 12 and 14. Explains Gaspar Romero: "These brushes with mixed hairs work well. On the other hand, those with

all

synthetic hair

fail

to hold

enough

years been the

president of the Watercolorists Congress of

more than three hundred associate members, including some of the best watercolor artists in Spain. Our guest Catalonia, a group with

artist

has written and lectured on

sions about watercolor painting,

expert in the

many and

401

occais

an

field.

Gaspar Romero habitually paints on fine grain paper, in this case on a tablet 62 x 146 cm, made by Fabriano. He uses three brands of paint interchangeably: tube watercolors by

Grumba-

her or Winsor and Newton and the line of watercolor tablets by Schminke. His

damp

Fig.

401-Gaspar

Romero

paints with the board support-

ed on an easel, almost vertical "You should emphasize." he tells me. "that is perfectly it

brushes are a special type featuring a mixture

possible to paint

in

watercolor

with the board or support

al-

"

most

vertical

402

164


water, as

if

they reject or

spit

out the watercol-

Fig.

403— To draw a

latively

or liquids."

Gaspar Romero uses the typical palette, with indentations in the middle and mixing trays on each side; made of metal and finished with

boat

is

re-

simple, so long as per-

spective

is

and

taken into consider-

present in all the nes flowing toward the hori-

ation

is

zon.

white enamel. His studio tripod is the classical tripod, but when he paints outside, he uses a tripod with three folding legs. "It is perfectly possible to paint in watercolors with the support almost vertical, changing the idea that some amateurs have, that it is necessary to work with the support in an almost horizontal position." Romero paints with only one small container of water (about one half liter), because, as he says: "It is good to paint with the water a little bit dirty because this relative dirtiness helps to create atmosphere and to harmonize the colors."

workshop

drawing (Fig. 404) Gaspar Romero draws with an ordinary no. 2 pencil and a Pelikan G-20 plastic eraser, dark gray in color and quite soft. He draws very carefully, considering every stroke, even using the ruler for those shapes that demand it. He draws only a few lines, with no shadows. "I work slowly, paying a lot of attention to my drawing, partially because I want to avoid First stage:

404

402— Gaspar

Romero, Landscape, Santa Maria de Fig

Besora,

artist's

A

collection.

landscape of a small town in the Pyrenees, painted on a cold autumn morning, with the mist invading the background. Distance is emphasized with the paintbrush, painting the

and the church facade and cobalt blue background mist. Also to be noted is the interpretation of forms and colors belfry

to contrast with the violet

in

synthesis,

particularly

white road and

Fig.

its

the

environs.

404-Gaspar

Romero

draws slowly and pays

partic-

ular attention to construction of

the theme, "partly to avoid using the eraser ", he explains,

"but also to paint afterward with

more

certainty."

165

WATERCOLOR PAINTING

painting a

IN

PRACTICE

seascape

using the eraser which can alter the fibres of the paper, but also so that I can paint with a surer hand afterwards."

Second

stage: the

background "from the fop

down"

(Fig. 405) "Yes, I'm going to paint this watercolor from the top down," says Gaspar Romero, "becausethe sky and the pier in the background, behind the boats, make a unit that must be

and everything at the same time." how he does it. Starting with the sky, using a no. 14 brush with a rounded tip, he paints large washes of weak color, first a green mixed with sienna, then a cobalt blue. finished

And

He

first,

watercolors

in shed

in the

background and

on damp,

in the building

the right-hand side. Painting while

still

he reinforces the blue and dark sienna of the base, and then uses the beveled handle of the paintbrush to rub forcefully, drawing white strokes which correspond to the masts and railings of the pier. Using sienna, he delineates the upper part of the roof of the pier with a horizontal stroke, and then moves to the righthand side, to begin the form of the reddish boat in the shipyard.

that's just

paints everything very rapidly, directing

wash to one side and then the other. Suddenly he turns the support upside down and paints with the painting upside down, still controlling the wash, and slowly building up the color in the upper part of the painting, where the sky will be later on. While he waits for this application to dry, he paints the sides the

of some of the boats with a very light wash, "in order to be able to play with a reserve of whites later on." He reinforces the blanks with a darker color of ultramarine and sienna in the

Third stage: the boats (Fig. 406)

There

isn't

much

finishes the

to explain: Gaspar Romero forms and colors of the boats,

drawing and painting barrels, boarders, cabins, small details. Afterwards he darkens the base of the pier, and before it is totally dry, he scratches with the nail of his index finger, opening the vertical lines at the base. Using a flat no. 8 brush of synthetic hair, he "opens up" the white of the parallel masts of the boats on the left-hand side, in the following manner: first he dampens the masts with water, applying the edge of the brush, going over it a few times, from top to bottom. Then he cleans the brush, and returns, softening and diluting the

Fig. 405- At this second stage. Gaspar Romero paints wetin-wet and tries out the effect of marking white lines with the

brush handle ends. Some of lines, the gray of the sky. the grays of the background, these

and some dark areas are already defined and will remain like this in

color.

405

166

the finished water-

WATERCOLOR PAINTING

IN PRACTICE

406— Gaspar Romero

Fig.

has

now

created a major contrast obscuring the background

where the boats

are; he has "opened out" some vertical lines in the background (with the

end

of the

brush),

and the

whites corresponding to the boat masts, damping and absorbing color with a synthetic hairbrush.

406

Fig.

407-The

the

left

appearing

landing stage on

and

side in

also the hull

the background

have been worked

to the right

out, painted with

some

lack of

definition so that

they are situat-

ed further

Note the care

out.

with which the

artist has presented the luminous outlines of the boats and see how these

colors, in

which were worked out

the preliminary drawing, are

still

defined

in

the painting.

O

407

167

KWW-

T-

WATERCOLOR PAINTING

painting a Fig.

PRACTICE

seascape

in

watercolors

408-This dark wash, the

reflection of the boats

sea,

IN

was

on the

painted quickly and

boundbottom part of the

decisively, clarifying the

aries of the

picture, while deliberately leav-

ing a

number

areas

in

of small

the interior

white

Most im-

is that he painted wetm-wet, diversified the color with

portant,

on the with ultramarine.

different shades, mixing

paper

itself

dark sienna, carmine...

408

409— At a specific moment, before this dark area has Fig.

blue color. Finally, he drains the brush, absorbing the water and color, allowing the white to

dried,

Gaspar Romero finds his and brings close

lamp, lights

appear on the paper. He uses the same brush and technique to "open up" the white of the searchlight lamp on the top of the boat in the

it.

it

to the painting to accelerate his

drawing,

trick.,

it

which has

is

an original

its risk.

center.

Fourth stage: a transitional phase (Fig. 407) decisive moment for the painting is draw-

The

ing near.

Soon Gaspar Romero

have to the water

finish the reflections of the boats in with a few brushstrokes. If it comes out well, fine; but if it comes out wrong... For that reason he works more slowly now, looking at the water again and again, noticing unimpordetails. He works on the right and then the dark base of the pier. He looks again at the water and finishes the ship in the shipyard, painting the dock in the left foreground... he stops.

tant shapes

side a

and

little bit,

Fifth stage: the big risk (Fig. 408) I ask him. have to throw myself into the water without fear," he answers, smiling. And so Gaspar bravely "jumps in." Using a rounded no. 24 brush, with the slightly dirty

"You'll risk

it,

right?"

"Of course, but

168

409

will

water he has been using all along, he dampens the zone corresponding to the reflections, with the result that since the dirty water is light gray, he can see and reserve the white forms corresponding to the actual reflections of the boats, while drawing the lower profile, the capricious shapes of the water in the foreground, etc. He follows with ultramarine blue, a little Sienna and a touch of carmine, forming a blued gray that he applies to the zone he has already dampened, working rapidly: adding color here, absorbing a little there, lightly varying the nuances.

I

"Nice job, Gaspar. You did it!" (Fig. 410) Afterwards, with a flat no. 10 brush of synthetic hair, he "opens up" the sinuous whites

WATERCOLOR PAINTING

IN

PRACTICE

410

corresponding to the reflections of the lightcolored masts, painting the reflection of the mast on the foreground white, darkening the reflection of the boat in the left foreground and... "That's

it,

right?"

I

ask.

"Not

yet," says

Sixth and last stage: finishing

And he does

it.

First

Fig.

he waits for the dark wash

damp part. "It's a little bit risky, but nothing will happen... if I do it right." When it is dry he paints these nuances which conscien-

to the

Gaspar, "the reflections of the boats are too light, they look like holes, they must be darkened. Reflections are always darker than the

tiously flee the

actual color of the reflected object."

still

he

uniform gray

regularity.

And

paints, setting in the foreground, light

color stains representing the

movement of the

water.

"Now it's

is

the

stage

final

painting— but watch

wii.it

does: he darkens the bright reflections of the boats

the

of the ocean to dry, (speeding up the drying process by holding a cigarette lighter flame up

41 0-This

of the

artist

on the sea. ("the reflection is always darker than the color of the form which is reflected") and with water straight out of the container (and somewh.it dirty),

he makes a number

of

brushstrokes which result in .1 very bright gray color, on white paper in the foreground tl

1

to represent the slight undulations of the sea.

done," he says, and signs his name.

169

WATERCOLOR PAINTING

PRACTICE

IN

painting an illustration Maria Rius is a famous dren's books published

watercolors

in

illustrator with chil-

many

in

She paints watercolors with

countries.

liquid, transparent

Although

colors, using the white of the paper.

not exactly that of the "pure" watercolorist, her way of solving problems,

her technique

is

her methods and procedures— including her tricks— I believe justify including her work in this book. Maria Rius's palette of liquid watercolors, cov-

whole color gamut— 18 colors in all of a specific trademark. She prefers a line of colors called "pastel" paints which reflect the gentleness and bright luminosity of pastel colors. She uses high quality fine grain paper, about 300 grams. She paints with three brushes of marten hair: nos. 8 and 10 for the overall painting, and a no. 3 for the small details. She uses two water containers, one for the first rinsing, and the other with cleaner water, for complete washing, absorbing colors, ers the

—and

all

the case with

etc. Lastly, as is

all

modern

411

illus-

Maria Rius uses the airbrush to fill in and resolve backdrops, blendings and graduating tones, and for large areas of uniform trators,

The

color.

illustration created especially foi

book does not correspond

this

story or theme.

to a particular

simply requested a creative illustration, and Maria Rius created a free image—for once without the conditions imposed I

Fig.

41 1- (Above) The table of

the

illustrator

Maria Rius with

two water receptacles on the right-hand side, the bottles of

and the porwhich the artist

liquid watercolor,

celain dishes

uses as a palette

by the editor!" She has imagined an activity which everybody, children and adults, have dreamed of doing at least once: the act of Congratulations Maria!

flying!

The technique

The will

classic watercolor

demands

cleanness,

countenance only limited use of erasing,

prohibits dirtiness, smudgy fingerprints, or muddying of the tones which might cause alterations in color or stains. This type of

care should be taken to a rigorous, antiseptic

extreme eraser

ing

is

for the art of illustration.

The rubber

forbidden; the pencil foundation draw-

must be very

light to

the applied watercolor.

avoid showing through

A

small drop of water

damages work with a paper under the working hand so the palm will not dirty the work that has been done, or the white or saliva on a uniform background

the illustration; one has to

paper.

These precautions begins.

The

start as

soon as the drawing

professional illustrator never draws

of art. Rather, on a separate sheet of paper, she studys the composition, the pose, the attitudes and expressions directly

170

on the

final piece

Fig.

41

drawn paper

2- A in

first

projection,

pencil on ordin.

412


PAINTING

Generally an

WATERCOLOR WITH AN air

brush

is

not used for artistic

mean

advisable to use

it.

on cer-

tion,

the

order to obtain certain effects

As a

result of this

watercolors, which does not tain occasions, in

BRUSH

AIR

that

such as smooth grading or blending, graded strokes, the effects of mist, etc., it might not be

air

brush

Today

is

in

the

field of illustra-

an indispensable

requirement, and since under

certain circumstances this

knowledge may be

we thought a good idea, while was producing her illustration, to

useful to you,

Maria Rius

tool.

it

Fig.

413-Charactenstics and

Fig.

artist

check

hands

of the

4- Before

beginning to artist

must

on a separate piece of paper, having first prepared the necessary quantity of color in a cup or small mug.

controls with a pedal,

leaving the

41

spray the color, the

mechanics of the airbursh for artists. The "gun" is operated by an air compressor, which the

and technique

explain briefly the function airbrush.

it

free to con-

the extremely fine spray of paint forced out by the mecha-

trol

nism.

414

"

>#

Fig. 41 5- With the color already prepared, one should

test the

gun, loading

it

r

{££

1

Mto

with wa-

prevent possible setgun being blocked, etc. Having car-

ter to

•»

ried out this prior check,

6- Before

finally paint-

carry out a test

on any

piece of paper, making sure that there can be no splashing

,L

backs, such as the dirty,

41

Fig.

ing,

which on the paper and drawing would mean an

use

final irre-

versible mishap.

a coarse brush to transfer the liquid

paint from the

which

it

cup

the small reservoir of the brush,

in

*£}*

has been prepared to

filling

it

air

^

approximately

halfway.

JB

416

415

417— Having

Fig.

taken

all

painting a

necessary precautions, paintcan begin with the airbrush, checking the intensity of the blend or the evenness of if it

is

it

it

to dry

with

in

mains fixed of

very dark

applications

spray. Notice

how

far

place over the

in

drawing by some pieces lead or small standard

sure that the stencil

is

not

by the movement of the

of

air

brush.

In

better understand

away

Rius

from the picture Maria works while she is holding the gun

and

is

shades or

make moved

weights, typically used to

order to intensify

new

of

original

and requires more than one application, it is necessary to wait for

Maria Rius

change

colors with a stencil; this re-

ing

the gray, since,

418— Here

Fig.

the

is

air

from

order

to

what Maria

doing here, look

at

the

blends and change of colors in the illustration shown in fig. 423.

painting.

418 Fig.

419-On

a

small scale,

Fig.

420— The

air

brush, with

these are the blended strips of

the outlet pipe suitably sealed,

color against a

background of produced by the air brush and a stencil which Maria Hius moved gradually upwards. The

can draw

color,

strokes of blended colors

fine

shades and like

those reproduced here.

resolution of this series of blend-

ed strips or boundaries can be seen more clearly on the following pages.

419

420

171

WATERCOLOR PAINTING

IN

PRACTICE

painting an illustration

in

watercolors

422

Figs

421.

422- After

having

several

pencil

produced

studies, Maria Rius

sea-gulls

and

drew these

this figure

which

could already be used for a ished

illustration.

fin-

Fig.

423-Here

is

the back-

ground painted with an air brush on which, if you look closely, it is possible to see the line drawing of the sea-gulls and the figure of the flying child.

Observe that this background has been reserved with adhesive tape, in order to provide a

frame or white margin around the

illustration.

423

of the figures and animals, all the important elements. These studies are usually done in pencil, on visualizing or tracing paper, both of

which are nearly transparent. In this way. if any one of these sketches turns out to be perfect, it may be transferred by tracing it onto the definitive drawing. The tracing is usually done by blackening the back of the tracing paper which has the selected drawing. This blackening, made with pencil, works as carbon paper. However, this can be messy and cause carbon to come off on the good paper. The best method of transferring is to use a light box with the tracing paper and drawing paper on top. Maria Rius drew several studies of seagulls and a little girl flying; she kept the drawing which is reproduced here. The sky in the background and the sea were executed with the air brush, using the procedures

I

explain

on the previous page. First stage: transferring the drawing,

and paint-

ing with the air brush (Fig. 423)

After the study of the girl and sea-gulls is traced onto the fine watercolor paper with a hard well-sharpened pencil,

Maria frames

the illustration with scotch tape previously

discharged of its glue, by means of rubbing it on the edge of the table. Next, she paints the sky and sea with the air brush. She first applies a blue-green background creating the sky and nearly obliterating the pencil

Using the same

color,

drawn

figures.

Maria Rius paints a through a

series of five undulating stripes

templet or stencil, applying paint as she moves the templet down. Thus, beginning at the top, the second stripe is darker still, and so on. in k

172

M__|^

WATERCOLOR PAINTING

the fourth stripe,"

I

IN

PRACTICE

told Maria, "the templet

has dirtied the edge." "Have you noticed?" she replied in an amusing way, "I've seen it; it wasn't planned. It's a shame, but I thought that I could paint the foam and win in the end."

Second

stage: painting the foreground

and draw-

ing the figures (Fig. 424)

Maria Rius carefully removes the transparent scotch tape covering the lower part of the illustration, and paints this area, working with a no. 8 brush and a light, yellow green color, to represent the beach. Below this color, as a decorative border for the illustration, she

now

some green shapes that remind us of trees and bushes. The interesting point here is paints

beach and bushes, Maria Rius has had to wash this area which was previously painted with green color from the air brush. She must also dilute and wash off the paint which covers the flying girl and sea-gulls. This is one of the tricks the watercolor illustrator knows. This is a job that the illustrator will do quite often. The artist will that in order to paint the

on the more malleable quality of liquid watercolors to help her. She first wets the shapes with the brush and then absorbs the rely

1

V

diluted paint with a paper towel, repeating the

procedure—always using clean water—as many times as is necessary to leave the treated areas free of color. This is obviously harder to do if the color is very intense or if the pigment is very permanent, as in the case of carmine, alizarin crimson, Prussian blue; emerald,

424 Fig.

424— Good

illustrations are

actually the products of patient

and delicate work. Here, for example Maria Rius has had to absorb the color of the the air brush at the bottom of the illusthe beach and bushes in the foreground. She has "opened up" white areas for the seagulls and girl, but

tration, to paint

and

several others.

Beside this procedure, the artist may also rely on a trick, which consists of washing the whitened zone with lye diluted in water— this leaves the paper absolutely white! (Beware: while applying the diluted lye do not use a brush with marten hair, but a brush with synthetic hair, the only material that will resist the corrosive action of lye.)

not satisfied with the absorp-

by hand with the brush and blotting paper, she has patiently applied liquid bleach diluted with water to achieve the results she is after.

tion effected

g. 425— Here Maria Rius is "opening up" the blanks shown in the previous figure; a job

425

which requires

maximum

cision so as not to

pre-

"go too far,"

Third stage: painting the figure (Fig. 425) Once you know the system of washing and the trick with lye, it's no secret how the sea foam

was "painted," or how the sea-gulls acquired their whiteness. But there is something left that deserves a separate discussion.

Maria has removed the remaining scotch tape creating a bright, clean rectangle around the illustration, and has begun painting the flying girl.

She paints the color of the

flesh

first,

next

the rose color of the dress, and finally the

reddish Sienna hair. In each case, especially in 173


painting an illustration Fig.

426— Here

anecdote

is

in

watercolors

curious

a

connection with this picture. Maria Rius had not planned to paint the white foam on the peaks of the waves Something unexpected happened: on finishing the last of these blends, Maria forgot to in

dry the edge of the stencil, and

when she

lifted

it,

seeing these

small stains as dots on the crest

second wave (see them 424), she was desper'The whole job wasted,"

of the in

fig.

ate.

she exclaimed aloud. But at that moment she found a solution

and

said

smiling,

happily,

"Good, shall paint the foam of the sea waves. remember the master Corot, who said that I

I

when

m

painting there

is

always,

happy accident' which sometimes brings about a change, an idea which addition,

'the

enriches the painting

"

426

the skin and dress, Maria uses the

same

tech-

nique she will later apply to the sea-gulls, and used to create the bushes and trees at the bottom of the painting. This is how it works: Maria applies a layer of watercolor. Almost immediately after she partially removes the color by blotting the area with absorbent paper. She applies a new coat and blots again, over and over, until she gets the desired earlier

174

At the same time she is modeling the figure, shaping the form with contrasts of light and shadow. This procedure reminds me of the method employed by the old masters of oil painting, the Flemish and Renaissance intensity.

artists,

glazes,

who one

painted with fine transparent on top of another, achieving

layer

a transparent, even finish.

WATERCOLOR PAINTING

Figs.

PRACTICE

IN

427.

428- The final stage

in illustration is

finishing up. ad-

justing, profiling,

.

touching up,

completing. The technique of Maria Rius. and of many con-

temporary applying

illustrators, involves

liquid

watercolor

glazes, using colored pencils

(Caran D'Ache brand) to shape volume and heighten color and using a hard

4H grading

pencil

to accentuate forms, graying

and toning down areas with extremely fine twirls invisible to the naked eye

/

T -•

Oty'

427

Fourth stage: the finishing touches (Figs. 427

and 428) In this figure and the next, we view the last stage, realized with a procedure that is truly

unique: the intermingling of three mediums —watercolor, lead pencil, and color pencils. With these tools the artist models the forms,

and strengthens contours. Both the lead pencil —4H, which happens to be a very hard pencil

—and

the color pencils, will create subtle gray hues, applied in minuscule strokes, dots, hardly

which will give pebbled texture when it is reduced for reproduction in a book. With the lead pencil and color pencils, Maria Rius models and completes the hair. She draws the features of the face, she models the delicate folds of the dress, the girl's hands and feet, and gives volume to the swallows... All a diffinoticeable at

first

the illustration a

glance, but

warm

finely

cult task, requiring technique, craftmanship,

and

creativity.

175

WATERCOLOR PAINTING

IN

PRACTICE

painting an illustration

-•

176

in

watercolors

WATERCOLOR PAINTING

painting a

snowy landscape

in

IN

PRACTICE

watercolors

painted this same subject in watercolor in I January of this year, and I will now paint it again, but this time in the studio, and explain the process in detail, not just showing the various stages of development in the painting of the work, but also the different processes

and techniques.

This

is

the last of the step-by-step

demon-

strations presented in this book: a painting

designed to be a final project, which I will paint for you myself using many of the concepts, theories, and techniques that a Fig.

professional uses when painting. I hope that this will be a complete lesson,

429- (Top) Photograph

summa-

which

be used as a subject watercolor of this last demonstration. The landscape

the pages of this book.

of the to this

start with,

show the

look at

painting

I

429 and 430 which did on the scene and a

photograph corresponds scheme of composition

429

430

figs.

photo of the subject, and notice how useful it is to take the camera along when you go out to paint. With a photograph of the subject, you can compare the finished painting to the real image, and even rectify or finish some details later on, when the original scene in life is quite changed. Now then, starting with the photo and the painting I did, notice first that the scene offers a compositional scheme which I tried to accent, as you can see in the adjoining figures. Notice the differences between the painting and the actual scene; these are changes I made during the process of interpreting: (1) suppressing those long trees beside the fence that surrounds the town, on the left-hand side, because they interfere with a view of the town; (2) interpreting the roofs as covered with snow, even though they actually were not; (3) suppressing three of the trees which appear in the ditch running diagonally across the landscape, and distributing them (4)

ditch into a slight ridge,

Fig.

the landscape

The

in

the

(429).

interpretation of the sub-

ject using this

scheme

height-

ens the geometrical shape and improves the composition of the painting

color painting, step by step. But

first,

allow

me

a brief commentary

changing the diagonal

the country,

I

paint with a typical tripod of

the composition, and allows the addition of the blue band of shadow thrown by the ridge,

the box-case-tripod type.

which aids the composition; (5) heightening the shadows of the trees on the ridge, adding variety to the scene; and (6) reducing the height of the gray band of the village and

vertical— a tablet or

darkening the ochre color in the railing in the foreground, in order to better emphasize the geometric zig-zag form which determines the composition of the painting. Now let us look at the resolution of this water-

shown

previous photograph

which lends variety

to

430- (Left) A watercolor made a year ago. of

painting

on the materials and tools used, and on my work habits. When I paint outdoors, whether in the city or

differently so that they will not interfere with

our view of the town;

will

for the

rizing the things I have tried to teach you in

To

of

the snow-covered landscape

to artists

many

who

artists

I

have no objection

paint with their paper almost

mounted on a board, as do— but I am more comfortable

an angle other artists. This preference means that in the studio, I always work with a tabletop easel in the form of a lectern, and an adjustable seat wich can be raised somewhat higher than normal. I connect the table or sheet of paper with clips; with the tablet or board of 35 or 40 degrees, as are

tilted at

many

177


painting a

snowy landscape

in

watercolors

way I never have to wet and dry the paper with it already mounted with tape (see fig. 431). I find it more practical to paint with the paper on the tablet, or with a sheet of paper thick enough that it can be adequately mounted with clips. I use tube paints and that

damp

While from a tube facilitates rapid execution—you don't have to rub with a brush to pick up the color— by the time it has been on the palette for two or three days, it has just about the same texture as damp tablets do. So in the long run, both types are fine. I use pads of paper made by Fabriano, or Arches or Canson, of medium or coarse grain, and brushes of sable hair in nos. 6, 8, 12, and 14, and occasionally a no. 18 ox-hair brush and a Japanese stag-hair brush with flat bristles, the latter two for washes, and wide gray areas, as well as for dampening large areas with water. I also use a natural sponge for dampentablets of paint interchangeably.

paint recently squeezed

431

example, before beginning a painting— on occasion, to wash, wipe, reduce, draw, and lighten. I use H pencils, which smear the least, and an ordinary white plastic ing, for

and

431 — Painting in watercowhether in the open air or in the studio. feel better work mg with the board inclined at an angle of some 30° to 45° Fig.

also,

lors.

I

(I don't like kneaded erasers, which feel modeling clay). I use only one container of water, which I change every once in a great while— since

eraser

kind of like dirty water for painting. When I paint in the studio, I put the container of water on top of a cloth rag, folded into four layers. This protects the table from water, and also serves as a means of removing water or paint from the brush. All I do is "paint" the rag with the brush a little bit before I touch the paper. And as regards to emptying the brush, I have waited until the end to mention the use of absorbent paper of the paper towel type sold in rolls for kitchen use. As you know, these towels are made of a spongy paper, which dries rapidly and easily absorbs the water and dampness of the watercolors. I use them constantly, having a folded or crumpled towel al-

lectern

(fig.

in

the form of a

98) and an adjust-

able seat which can be raised

somewhat higher than normal

I

178

the studio this requires a

In

tabletop easel

like

Fig.

432— A detail

of

no impor-

tance but which believe I

432

my

on the

hand, to clean the brush, reduce, absorb, blend or break down in

left

more or less, on a recently painted area. Sometimes I even use it to draw, as sometimas happens with a uniform background of sky, when simply pressing with the paper towel can "open up" a white spot which, color, pressing,

use-

I

:

pressing, as

ways available

is

under the water bottle place a piece of absorbent cloth, folded several times, which apart from protecting the table against drops and wetness, enables me to remove excess water from the brush by simply ful

cloth.

if

I

were

painting

;


properly treated afterwards, can become a magnificent bank of cumulus clouds. And now let us return to the watercolor painting of a if

snowy landscape. First stage:

drawing and reserving whites

in

painting

the right hand;

under the left hand is a piece of blotting paper folded twice or more, always ready to allow you to remove any excess paint from the brush, to blot in a specific area, and "draw" by opening up white areas in a form or a color which has been applied. The tissue paper or blotting paper, which mops up like paper towels used

the color to

(Fig. 434)

We

433-Working,

Fig.

with the brush

begin, as always, with a precise, well de-

fined line drawing, particularly in the area of

the village houses, where the buildings and roofs must correspond to reality; the same is

in the kitchen, is essential for watercolor painting

middleground and the But the trunks and deli-

true of the ditch in the trees appearing there.

433

cate branches of the trees in the foreground may, on the other hand, be drawn with more liberty, representing, for

the time being, the

largest trunks.

apply masking fluid with a no. 4 synthetic brush, covering the areas where I wish to preserve the white, these being: the Afterwards,

I

roofs of the houses

and the walls which

-

sur-

—4

round the village, the small snowy areas of the mountains and their upper profiles, and the broadest trunks of the slender trees in the

foreground.

also paint a

I

little

fluid in the right

foreground to create some snowdrifts. It is very important to use masking fluid in the right quantity and not to overdo it; avoid reserving whites when normal watercolor techniques can be used. Next I reserve a patch of white— using white wax— in the thin promontory on the left side of

the village (indicated as

A in the figure adjoin«

and in the band of terrain in the center (B). In zone A, I reinforce this reserve of white created with white wax by applying masking fluid, scrubbing and graduating it from the top down (as you know, masking fluid is cream or light blue in color, which makes it easy to locate later on). ing this

first

Second and the

stage: painting the sky, the mountains,

stage)

houses (Fig. 440) Before beginning to paint, let me mention that village

434 Fig. 434— Here is the finished drawing, with the masking fluid

applied to reserve certain areas, visible

Fig.

by

its

bluish color.

435— Application of mask-

ing

fluid to reserve certain areas with a synthetic no. 4

brush.

The

fluid

on the brush ter to

but

wash

it

is

which remains wa-

diluted with

before

it

has dried

some fluid always remains

which has

to be eliminated by squeezing the brush and pulling it through your fingers

and

435

nails.

179

WATERCOLOR PAINTING

painting a

IN

PRACTICE

snowy landscape

in

watercolors

the scale of broken colors, and their cold feeling in this watercolor, are the product of a

mixture of dark sepia and ultramarine blue, which gives a basic neutral gray that can be altered (as it has been) by mixing with carmine, ochre, emerald green, and Prussian blue, in order to obtain the different colors and nuances visible in my interpretation of the scene. For example, the sky was painted with the two basic colors mentioned

above— ultra-

marine blue and dark sepia— by adding carmine a little bit a time, using a lot of water, of course.

431

/ customarily test color mixtures on a

separate piece of paper, or in the margins of the painting itself, as you will see I am

doing

in fig. 436.

begin painting the sky with the color menit to the group of houses, the mountains, and the sky itself, painting with the tablet of paper turned upside down (fig. 437) in order to achieve a wash that builds up color in the higher part of the sky and leaves the horizon slightly lighter. While the wash is still damp, I "draw" some white clouds with a paper towel by pressing on the area of the 1

tioned above, applying

horizon and removing color. Without waiting for the sky wash to dry completely, I rapidly paint the mountains with a darker gray-blue wash, consistent in color but softened and diffused at the edges with a clean brush. This wash extends to the group of houses and to the village. On the edge of the house at the left hand side of the village, I "open up" a light spot like a cloud of smoke, using a small stick with a cotton swab on the end (of course, the cotton absorbs the water, and with it, the color:

fig.

439).

Now

I

must wait

until the

second wash— for the mountains and houses —dries I speed up the drying by using a hair dryer, and then begin painting the houses,

438

437

Fig

436-

1

select from the

ples of colors

meled

in

sam-

the white ena-

palette, but before ac-

check the colon a separate paper or in the margin of the paper on which am going to paint the watercolor. as you can see in tually painting

it

I

or

I

this picture

Fig.

437— To paint an even col-

ored sky. one trick is to turn the board upside down.

439 Fig.

439-Now

stick with a

the end,

I

with a small

swab of cotton on absorb color and

open up bright areas like clouds smoke on the top edge of

of

the houses. Fig.

438- When

sky has dried.

the

I

still

the gray of the

not completely

paint the darker gray of

hills

with which also cover I

the forms of the houses and the town

180

WATERCOLOR PAINTING

and yards of the village, with different nuances and with similar but diverse colors. I continue to use dark sepia mixed with ultramarine blue as the base, varying the amounts and proportions to obtain grays which are either fences,

bluer, darker, or

more

neutral, without forget-

ting the possibility— the necessity— of bringing

into play the ochre, carmine, Prussian

and

cobalt blue tones. I paint the doors and windows of the houses without outlining, without too much fuss, and call this second stage over.

In a watercolor such as this tually in

all

one— but

I

paint with this technique in the areas

IN

PRACTICE

men-

it on a separate piece order to know how much to dampen or dry the brush), controlling the dry brushstrokes with light and precise dabs of the paper towel, pressing and absorbing color, blending more or less, etc. Then I use the blue-gray mixture to paint the shadows of the trees and the graduation of this same color which appears on the right hand side, as well as the shadow of the ridge, always using the dry brush technique (fig. 441).

tioned above (testing

of paper

first,

in

ac-

watercolors— which uses a

scale of colors with a notable blue-gray tendency, the artist

need

must always feel the

to enrich the colors,

and

different paints

painting with

different nuances,

trying to attain a tonal unity within the

variety of colors

and nuances.

Third stage: resolving the uneven ridge in the center (Fig. 441) First I paint the trees, starting with the trunks, using dark Sienna and a little blue, finishing the fan-like branches afterward with a no. 6

and controlling the intensity with absorbent touches of the paper towel. Next, I turn my attention to the shadows in the gulley and the gray-blue shadow on the ridge or uneven land next to the gulley, where the long shadows of the trees also appear. I made sable brush

light,

by first mixing a base of Sienna and ultramarine blue, and then adding cobalt blue and a pinch of carmine. I will paint the upper edges of these bands with the frottis or dry brush technique. this gray-blue color

The frottis or dry brush technique—also called "scumbling"-(flg. 245-247) demands constant tests, carried out on separate paper of the same and grain as the paper being used for the painting. Naturally this technique cannot quality

be used on recently painted,

damp

>

surfaces. 440 Fig. it

is

440-ln

this

second stage

possible to see the need to

diversify the color, particularly

on the fronts and roofs of the houses, on the land, and on the fences. This diversity, which is always a good idea, is particularly necessary when, as in this case, the subject suggests a

marked gray tendency.

181

WATERCOLOR PAINTING

snowy landscape

painting a Fig.

441 -It

straight

is

off.

PRACTICE

IN

watercolors

in

important to paint

\.

f

without stressing

anything, trying to achieve suc-

cess with the

first

application

and brushing without fear. This also involves the technique known as scumbling or dry brush, which makes possible to blend with mimscule dots or spots caused by the rubbing of the half-dry brush on the grain of the paper. The success of this technique depends largely on trying the effect out on a separate piece of paper first, and on working carefully with the blotting paper to eliminate or remove color if necesarry.

—

i :

%

-

it

&** IB^^^^^H %

i

'•';•

441

First

piece of sandpaper, then

To I

finish off the

middleground of the

gulley,

paint in the interior with grays, Siennas,

and

blues corresponding to the rocks and clods of earth not covered with snow, the bushes and

clumps of

grass, etc.

This

is

a minute!

and

The crest

a

energetically rub

I

the area just above and beyond the limit of the area mentioned above, in a movement parallel to that area. This

"opens" and widens the

white area. Afterward eraser

room

"open

is still

sythesis. But, hey! Wait of the ridge, at the edge of the blue band, seems poorly explained and narrow. It would be better if I could extend it, and I will, using the sandpaper technique. for interpretation

I

a laborious task

calling for a fine brush, but there

182

wrap the eraser end of a pencil with

Fourth stage: finishing the gulley and resolving the foreground (Fig. 447)

I

(fig. 1 '

begin

442, 443).

I

Then

area and blend

now

clean the area with

it

I

touch up

this

my

new,

in.

to paint the wall of the lower

right-hand side, as well as the

snow on

the

foreground, resolving them land in the with the dry brush technique. Attention should be paid to the direction of the brushstrokes left


here, which should be diagonal for the snow, descending from left to right, parallel to the diagonal of the gulley and ridge. For the stones of the wall, which is free of snow, the brushstrokes should also be diagonal, but in the opposite direction, descending from right to left (see the diagram which accompanies fig. for a better understanding).

nuances:

443-"0penmg up" wound

around the end of a pencil, and rubbing fairly energetically When the rubbing is completed, the area must be cleaned with

rubber

a

eraser,

then

touched up as necessary.

These are the

wide "frottis" sections, done with a wide brush, continuous and decided, and their success depends as much on the amount of paint and relative dampness of the brush,— which I will, of course, test beforehand many times—as on the simultaneous control exercised by the absorbent paper towel. I will begin with the

snow on the

442,

Figs.

a white with sandpaper,

442

443

444

left-hand side, using three color

first,

a neutral light gray, which serves

as a base, breaking

down and becoming

grows more distant from the foreground. As I have already mentioned, the frottis must be carried out with a broad brush and in a continuous and decided manner, therefore, I have taken the precaution of covering the edge of the wall with a piece of cardboard, as you can see in fig. 446. In this way, I avoid the risk of "running over the ,, line, that is, running into the ochre of the wall at the end of those large, rapid strokes of the lighter in color as

it

dry brush. Finally, to finish this fourth stage, I paint the snow in the foreground of the wall applying two coats of two different grays, the

wich serves as a foundation, the second, alternating with the dry brush technique, drawing the forms the snow takes on in this area. As you can see, I also use small touches of siennas and blues to clarify these forms (fig. 447). a light gray

first,

Fifth stage: peeling off the

masking

fluid

and

general touchup (Fig. 448) Energetically rubbing with an ordinary every-

day eraser, I remove the masking fluid from the mountains, the roofs of the houses, the

mound and

walls that surround the

I

want you

Fig.

«*i&

444- Here

picture of the

wall

am

is

an enlarged

snow and

the the foreground, which resolving with the "scumin

I

ble" to more closely represent the texture of snow-covered

surfaces.

445

445-As you can see in scheme, the direction of the brush differs depending on the place and the subject or element which is being Fig.

this

painted.

town and

the trees and trunks in the foreground, leaving the snowdrifts for last. Horrible, right?

>

446

to see this view,

moment

(fig. 448), so that you can better understand the disagreeable surprise of these whites-so terribly white- that stand out by

this

virtue of their excessive contrast, and that may lead us to believe that our trick with the

masking fluid was a mistake. You will see that it is a good trick in the following stages, but obviously it should be used with caution.

Now

I

begin to retouch, to blend these whites

Fig.

446- To

paint here with

the

"scumble" (dry brush) technique and with these broad and long brush strokes and avoid "going too far," have covered the wall on the rightI

hand side with a piece

of card-

ho.mi

183

WATERCOLOR PAINTING

painting a Fig.

IN

PRACTICE

snowy landscape

in

watercolors

447-The white at the peak margin

of the fringe or

center

is

now

in

the

broader, after

having been widened by rubbing with sandpaper; the irregularities

and dark shapes

of

the fringe have already been

reviewed and reconstructed; in have resolved the texture of the snow by using the "scumble" or dry brush technique; everything is ready for the removal of the masking the foreground

I

fluid.

447

into the rest of the nuances and colors, graying them, dirtying and diffusing them patiently working with the point of a damp brush where their edges are too hard, painting the "holes" in the trees with blue-gray to represent the

snow

in the shade...

you can see

184

and leaving

in fig. 449.

it

like that, as

Sixth stage: slender trees, snowdrifts and overall finishing (Fig. 450)

With a neutral black, made from dark Sienna and a little blue, I paint, or perhaps I should say draw, the profiles of the slender trees in the foreground, retaining the white strokes

made by the masking fluid. For this I take advantage of the fine point of the no. 6 sable brush, with which I also trace the fine branches —so fine that I wind up drawing some of

WATERCOLOR PAINTING

Fig.

448- This

is

IN

PRACTICE

the state of

the watercolor. once the masking fluid

which reserved these

removed

blank areas has been

A

which is somewhat unpleasant, due to the excessive contrast and the lack of balance caused by these white areas result

against the color the watercolor

hope

that

result,

fact

you

that

harmony

in

having

of

general,

seen

I

this

be aware of the masking fluid to

will

reserve certain areas

is

a

good

cases (to represent the flakes of snow. as we shall see further on. for example); but this technique auxiliary for certain

should not be abused despite the

good

final

result

which

I

expect to achieve once these blanks have been harmonized.

448

them with

a black ballopint pen. Afterward,

I

paint the few dry leaves with ochre, a little carmine, and a pinch of blue. Then I remove the masking fluid from the snow drills and

begin the ballpoint

work of finish. With the black pen I draw some almost impercepfinal

contours, in the fan-shaped drifts in the trees of the gulley, as well as some small tible

branches.

I

outline the edges of

some of the

and windows of the village houses. Now I decide to open up some lighter, spherical-shaped areas on the left side of the village. I use the technique of opening whites with a synthetic brush, keeping in mind that roofs

these light areas correspond to hearty village trees which animate and diversify the forms. I

continue with the sharp point of a blade or mat knife,

"opening up" very

fine points

and

lines,

185

WATERCOLOR PAINTING

painting a

IN

PRACTICE

snowy landscape

in

watercolors

Fig. 449— The excesses have been smoothed and harmonized with light glazes which cover the "holes" which the masking fluid revealed. Just a few more touches to finish the

painting.

Fig.

450—1

paint the slim trees

the foreground with spontaneous, carefree strokes, using in

the dark liquid paint

way that the

in

such a

brush flows

freely.

There is no chance that with such a fine stroke will end up with an excessively linear or too I

technical resolution.

I

give a

few

touches with a black ballpoint pen to the trees, the houses; paint the eaves and remove the masking fluid over the I

snowflakes.

I

the feeling of

feel the cold

snow

mountain, and

I

in

am

air,

the high

happy.

I

have finished

449

scraping and scratching the paper in the snow-

the trees, on the branches of the slender trunks in the foreground, adding snow

drifts,

I

leave

it

alone,

and

sign

it.

And now, I bid you adieu with the sincere wish that today, tomorrow, right now— partially by having read and looked at this book

always correcting—just little things, almost nothing— the color of a house, the color of the village wall, the color of the mound of

—you

earth...

to paint a watercolor.

effects...

186

Then

in

will feel

the preeminent need to begin

WATERCOLOR PAINTING

IN

PRACTICE

450

187

BRnnn

THE BIG BOOK OF WATERCOLORS

glossary

A

background. The interposed

Cartoons. Small or reducedscale

Absorbent paper.

atmosphere is one of the factors used to represent the third dimension in

A

type of

spongy paper, which, by virtue of

its

properties

a painting:

absorbent

used as a

is

paper towel, most often

in the

kitchen. This type of paper

used

is

it

is

up" white areas by removing

etc.

the background with relation

is

to the foreground.

Agglutinate. Liquid products

used to build up and bind powdered pigments or

a characteristic of

quality drawing paper.

paints. In watercolor painting

Drawing the

these products are water and

Blocking

gum

shape of a form using

and glycerine or

in.

analogy are called boxes. Botanical painting. Painting

The

which studies flowers, plants, trees, and fruits from a scientific and didactic point of view. This was an important

paint. air

a pistol

is

with a liquid

When, connected

to

an

compressor, the paint can

be shot

in a jet of

powdered

subject in the 18th century.

Broken

directed spray, allowing the

composed of a mixture of two complementary colors mixed in unequal amounts

artist to paint indistinct,

graduated and diffused

With the help

of stencils

made

colors.

Colors

with white. In watercolors,

of thick paper

or cardboard cut to shapes

broken colors may be made

up of only the two complementary colors, since

brush permits the painting of

the paper

is

translates "first time."

of direct painting which

completes the painting in one single session, without

with

any previous preparation.

adequate for painting

wood

in color.

still

balancing the various parts with respect to each other.

Atmosphere.

which

Term used

in art

relates to the distance

between the foreground and the or air space

188

made

paste, usually gray

Paper of a quality

watercolors

of a painting while

will result in

the

recomposition of white

Example:

light (or vice-versa).

by adding dark blue to

A

small cylindrical or

square bar which colors

by rubbing. Chalk soil,

milled

similar

is

to pastel, but

more

with a harder

line.

latter

being a

and red— we recompose white light.

colors green

gummy

water, and

oils,

yellow— the

combination of the "light"

make of

is

substances. Chalk

stable and There are

An

Contrasts.

optical effect

by which a dark color appears darker, the lighter the

chalks in white, black, light

surrounding colors

sienna, dark sienna, cobalt

and

blue,

are,

vice-versa.

and aquamarine.

Those

parts or

of copper covered with

on which one

zones of the painting which,

varnish,

even when

draws with a metal point which cuts through the

in intense

shade, allow the forms of the object to show.

varnish, making incisions which reach down to

might

It

be defined as the

art

of

the metal. Errors

shadows. Rembrandt was one

corrected by painting on

of the great masters of

new

chiaroscuro.

drawing

is

scale.

sometimes

The

varnish. is

scale as applied to the

(do, re, mi,

invented

fa, sol, etc.),

in the

When

the

completed,

is

bathed

in nitric

which corrodes and etches the exposed metal acid,

system of musical notes

incisions.

was

year 1028 by

Guido D'Arezzo

in

may be

painting light within

word

distribution of the elements

flat

with a rounded point.

Chromatic

Cardboard. Thick sheets

intuitive

for the filbert brush,

the sheet

C

Refers to the technique

Asymmetry. Free and

name

white.

concrete shapes or forms. Alia prima. Italian expression

primary color

"Cat's tongue". Popular

Chiaroscuro.

previously worked out, the air

which

colors are secondary colors to

Copper engraving. Sheet

color tones like a well-

strokes.

actual size.

with

with powdered colors.

is filled

cardboard enlarged to

powdered

Air brush. Process for painting

principal tool

in

is,

aspects, colorist.

Complementary colors. Speaking in terms of "light" colors, complementary

by means of a

in,

Chalk.

rectangular prisms, which by

preservative.

Contemporary painting

through a graph or

system with the contours

basic

squares, rectangles, cubes, or

a

painting a certain effect.

which the addition of a

border of handmade drawing

good

may be differentiated and distinguished using

bodies

many

Unequal edge or It is

believing that forms and

only color, lending the

for

transfered to canvas or

to the wall

B paper.

models

Cartoon, on cardboard,

grid

Barbs.

which

projections or

decoloring and blurring

paint.

honey combined with

board or cardboard, used as

drawn

absorb color and to "open

Bristol

murals, mosaics, tapestries,

a matter of

in watercolor painting to

arabic,

drawing done on

to signify "a

The

nitric acid

used to etch the copper lends this

process the other

name

often used: etching.

succession of perfectly Crayons, wax colors. Basically

backing. If the finished

ordered sounds." In painting, we refer to the succession of

watercolor painting

colors in the spectrum as the

compounded

chromatic scale: "any

and grease and heat-fused

perfectly ordered succession

certain temperatures to

supplied with cardboard

is

to

be reproduced using photomechanical processes, this cardboard-backed paper will

of colors or tones."

in

which case it is preferable paint on normal paper.

to

form

a

with

wax

homogeneous

at

paste

which, once dry, takes

not permit reproduction

by the scanner method,

these are pigments or paints

Those artists who more importance to

Colorists.

the shape of small cylindrical

give

bars.

color than to tonal value.

They

are stable colors,

applied by rubbing and, to a


certain point, cover,

or colored earths, and with

permitting the application of

the addition of

a light color

or

over a dark

color, reducing the latter by

mixing with the former.

Fauvism. French term derived from the word/at/ve (meaning "wild, in English), first used by the critic 11

D

Vauxcelles

the

fifth

scale, or the

most important

By analogy,

note.

it

may

be applied to painting

may be

also

in

dominant

referring to a

This

to

note of a musical

warm,

making for intense contrasts, sometimes

strident colors,

related to the juxtaposition of

complementary

cold,

or broken colors.

colors.

shank, or metal part which

as a

more

made one

The

the

over darker colors.

Type of flat brush with rounded point, commonly

Filbert.

great

a

known

or

as "cat's tongue."

drafts as projections

before starting on the

Frottis.

Term

complementary color."

artist to

Induction of complements. dries

It

This

is

explained by the

statement: "to modify a

Golden Rule, Law of the. See Golden Section.

determined color, one may simply change the background colors

Golden Section, Law of

surrounding

Established by the

the.

it."

Roman

architect Vitruvius to

L

aesthetically speaking, within

The Golen

a given space.

hairs.

masters

a thick, covering

is

medium, allowing

of a line or point, Ferrule. In a paintbrush, the

Draft. Projection of a painting

study beforehand.

(tempera)

determine the ideal placement

surrounds and retains the

drawn or painted

sympathetically, the

appearance of the

with a matte, pastel finish.

distinguished by brilliant and

"viewing any color creates,

by their opaqueness. Gouache

color.

a particular

color, or a set of

arabic in order to

obtain colors characterized

paint with light colors

d'Automne of Paris. The fauvist style is

established by the physicist

Chevruel, according to which

in referring to

a 1905 exposition in the Salon

Dominant color. The term dominant is used regularly in music to refer

gum

honey

derived

Lead

pencil.

Term used

Section states that: "in order

to refer to the ordinary pencil

that a space divided into

made

unequal parts be aesthetically

"lead"

must be relationship between the a smaller and larger parts

and

such that the smaller

is

up only of lines, without

larger as the larger

to

pleasing, there

to the

of cedar

wood

with a

composed of graphite

clay.

Line drawing. Drawings

made way

from the French verb frotter (to rub) which refers to

the total."

Dry brush technique.

the technique of painting in

expression of the Golden

watercolors, since the color

The technique

watercolors on a coarse-

Section or Golden Rule

values used to represent the

painting in which a nearly

grained paper with an almost

equal to 1.618.

dry brush, with very

dry brush, holding very

paintings themselves.

of watercolor

little

is

shadows. This

The mathematic is

of drawing

is

the ideal

when

painting in

volume of the objects painted must be resolved

Grain. Structure or direction

rubbed against a textured paper so that the paint remains on the surface

allowing the texture of the

grain determines the

transparency, watercolors

of the texture, leaving a

paper to show

roughness of the paper. Paper

appear dirty

granulated surface. Also

paint.

called frottis.

also

paint

Dry

is

watercolors.

Dry

paint.

little

The brush

is

of the fibers

rubbed on the paper, in the

The frottis technique known as dry-brush

is

watercolors.

"dry"

is

The

adjective

used to differentiate

them from wet

watercolors,

given that the latter type involve

some

special

is

divided into fine grain, grain,

directly with the watercolors.

By

virtue of their

if

one paints

over a drawing containing

and rough

grain, the latter having a

watercolors do not consist of

any special technique, being the normal, classical

The

for watercolor painting

medium

technique.

in paper.

shadows. The term "line

drawing"

is

also applied to

industrial drawing.

rough texture apparent to the

G

Watercolors are supplied

Gum

Glaze. Transparent coat

of paint, applied before or over another color, which modifies the

latter.

techniques.

Gouache. French term used throughout the world to refer to tempera paint, a

Liquid watercolors.

naked eye.

medium

watercolor,

arabic.

Sap drawn

from the African acacia which,

when

with water,

is

used as an

same

engraving.

larger proportion of

Liquid watercolor

may

also be diluted with water,

is

very transparent and gives an

with other products, for

intense but luminous color.

watercolors.

Local color. This

is

the

actual color of bodies, in

those parts where they suffer

ingredients, but with a

pigment

tubes and bottles of liquid.

agglutinate, together

of the

Etching. See copper

dry tablets, moist tablets, tree

diluted

similar to

made

in

no

alteration

from the

effects of light, shade,

Images, succesive. Rule

or reflected colors. 189


glossary Motif. Is the

M Mat

knife (also X-acto

These are special knives with removable knife).

modern

for "subject,

introduced

light color

and

form, utilized

palette, with shallow

apparent preparation, such as

indentations that allow mixing and making up of colors.

might be found

in

everyday

Papyrus.

it is

gum

of

watercolor

painting to protect small

forms, strokes, or to reserve

may

white areas which

be painted over or around. Subsequently one rubs off the

gum

with the finger or

white spot reappears. Masking fluid

may be

applied with a

narrow brush (no.

3 or 4),

with synthetic hairs, dilutes in water, but

N Neoclassic.

A

style

and architecture dating from the end of the 18th century painting, sculpture

middle of the 19th century and inspired by to the

roman

periods, imitating their

formal content, and

period.

O

deteriorate.

Medium. Term used

Ox

to

describe a painting process.

are a painting

medium,

bile.

Product

as are

bile

when

of oxen, used as

it

A

mixing agent

painting

replace water. In watercolor it is

used

in

order to

eliminate any possible residues of grease from the paper. Watercolor medium increases the adherence and moisture of the paint and generally improves the chroma.

Monochrome. A painting is monochromatic when it has been painted in only one color. "Wash" drawing done with black or sepia

190

is

monochromatic.

Pre-Raphaelites declared

were followers

may be

was prepared

Florence: Gozzoli, Botticelli,

and other predecessors of Raphael— from whence

was cut off, and then it was rubbed and smoothed with a pumice stone. For centuries, parchment was considered to be the best material for works of particulary for painting

was discovered

it

in the

Pergamum by King Eumedes II.

name

Pre-Raphaelites.

They considered

the art

more

before Raphael to be sincere and less

artificial,

and

they opposed the academic rules fashionable in their

own time

in England which were inspired by Raphael, Carraccio, Reynolds, and so on, and by the sculptures

of antiquity.

of

The

Pre-

Raphaelites painted

many

watercolors and boasted such

Term used

painters as Rossetti, Hunt,

and

Millais.

reconstructs an important

that the artist regrets

the shoulders of this animal, a good addition to the pine

what he

or she has already painted.

The

pentimenti of Velazquez

are well

known, and were

for

discovered by infrared

Primary. Basic colors of

the solar spectrum. Primary "Light" colors are green, red

and dark blue; Primary Pigment colors are cyan blue, purple

and yellow.

painting in watercolors.

The higher number brushes most often used, those 18, 20, and 24, which serve for dampening and painting large areas.

photography.

are

Perspective.

numbered

of graphically representing the

A

metal box with

science

the appearance of size, form, color.

We may

between linear perspective, which represents the third dimension (depth) through lines and forms; and aerial perspective, which distinguish

Palette box.

The

R

effects of distance on

and

watercolor, sienna, Venetian red,

it

part of the painting, signifying

Ox hair. The ox hair brush made from hairs from

marten hair brushes used

active

the end

of the art of 15th century

by treatment with limestone

it

at

importance to painting. that they

when one modifies and

small containers.

is

It

movement

literary

England

The

ram or

written upon.

Pentimento. in

which may be mixed with or painting

generally of

in

of the 19th century, of notable

in the center,

with

with watercolors. Sold

Medium.

on

miniatures. Tradition has

made

small proportion of

a calamus,

goat, treated so that

Pre-Raphaelites. Artistic

and

similar to a feather.

city

water

oils, etc.

one end and cut

that

from the

upon using

a short stick bevelled

art.

a wetting agent by mixing a

Example: Watercolors

into

the

residues which can

cause the brush to

be of organic or inorganic

cyperus papirus.

then washed, the hair

exhibiting romantic and

applied very carefully, will leave

it

Parchment. Animal skin,

the art and architecture of the

powders and may

available as

origin.

called

written

of

academic influences from the not

in a liquid, provides a

pigments are generally

writing paper and was

same

contrast.

Pigment. A pigment is any color which, when diluted

fibrous plant

The stem was formed

it

if

A

the Nile by the Egyptians,

who

Greek, Hellenic, and Greco-

with an eraser and the

and

color for painting. Painting

life.

in liquid in

color, shade,

harvested from the banks of

cardboard with either,

Latex

When

designate a model without any

wise to use a metal ruler.

fluid.

represents depth using

open, the tops serve as a

cutting paper or

Masking

which

contains the colors.

by the Impressionists to

blades used for cutting paper.

When

a top or double top

,,

word

Reflected colors. This

is

a constant factor, given,

on

the one hand the

surrounding color, and on the other, the concrete reflection

of one or objects.

more

particular


support on which watercolors are painted sheets or

Sabeline hair. Sabeline hair

may

brushes

also be used for

painting in watercolors. Like sable hair,

it

origin, but slightly stiffen, as

well as

more economical.

mounted on make a compact

are undoubtedly the best for

They

hold water and paint better

These brushes are made from the point at

tail

all

times.

hairs of a small rodent

called kolinsky, or red sable

which lives in Russia and China; they are expensive but long lasting, and of

monuments from ancient Rome, much in style during

centuries, given to draftsmen

the 18th century

who reproduced

Europe, but particularly in

Sumi. Oriental watercolor aspects of which are related to

Zen. Painting

done with Chinese ink diluted in water and with special brush, with a

is

a

bamboo

handle.

Symmetry. Relates to artistic composition and may be defined

"the repetition of

as:

the elements of a painting on

each side of a central point or axis."

Synthetic hair.

brush

mixture, in pairs, of the

them "amateur brushes." They

cyan

and yellow, the

secondary pigment colors

and deep

are red, green

etc.

volatile oil

used

in

W

watercolor

painting for painting special effects.

Turpentine, along

principal solvent for oil paints.

particularly

oil, is

the

V

call

are

manufactured

in

the hair of this animal

and a bamboo handle. as a Japanese brush,

it

Japanese brush,

the wider sizes,

dampening or

washes on wide

Any

is

perfect for

surfaces.

paper, the brushes,

and other

tools, as well as the

who

the

same

as in watercolor

Wash was

paint the effects of light

painting.

and shadow, valuing the tones

by most

and recreating the volume of

Renaissance and Baroque.

The

greatest

artists

practiced

of the

Cennino Cennini the 14th

proponent was Rembrandt; a

century Italian

pigment colors obtained by

contemporary example might

educator, discussed the

mixing primary and

be

development of the wash

A

series of six

tertiary

in pairs.

The

pigment colors

ultramarine, emerald green,

Dali.

tactile

visual

and

appearance of a painted

surface. This

or texture

appearance

may be smooth,

may be

Wet-in-wet. Special technique

applied to

of painting

for their protection.

which the artist paints an area previously dampened

It

sold in small containers

applied with a brush. intesifies the colors

paint gloss

color.

This

is

a varient,

painted and

and gives a perceptible which increases with two

reason,

some

painters reject

in

watercolors

in

with water, or recently

of the

squares, satiny, grainy, etc.

or less, of local color,

and

It

rough, broken into tiny

more

in

watercolors once they are dry,

or three coats. For this

Tonal

and

Varnish, protective. Varnish

is

The

artist

his writings.

light green.

surface on

which a pictorial work may be realized. The specific

usually black, sepia, or

The

and shadow by using

the objects.

Texture.

for painting

different tones of

Value painters. Artists

and

in

resolving the effect of

in

economic.

of equal or lesser quality

than an ox hair brush.

limited color

general techniques, are

are: orange, carmine, violet,

Known

A

dark sepia with lighter Sienna.

between the

different tones.

Tertiary.

is

the

such as bleach and are

secondary colors

Japan with

the paper

Chinese ink or with one or two similar watercolors and water. The colors are

light

drawing,

Stag hair. Type of brush

when

and has not been

Wash.

same image. Valuing is the same as comparing and

Some

free-hand drawing;

artistic

Warping. Undulating

form which drawing paper assumes as a result of soaking or dampening,

with linseed

quite resistant to corrosives

relatively

instruments.

Support.

watercolors.

Value. Relationship existing

blue.

done without the aid of rulers, compasses or other

flat

or record

watercolor or drawing realized

capacity to hold water

paint.

manufacturers

The secondary

"light" colors are

The

document

voyages, scientific expeditions,

mounted beforehand.

with synthetic hairs,

and

is

greater interest in

Type of

same

A

contributed, indirectly, to a

Topographers were contracted

than that of the sable hair

primary colors.

England, where they

thin

Secondary. Colors of the

the truly

private

over

all

houses, or simply landscapes.

Turpentine. Grease-free

spectrum composed of a

Sketch.

buildings,

monuments, gardens,

to

brushes but without the

blue, purple

countrysides with views of

name

from the 18th and 19th

offering greater tension

high quality.

used to refer to drawings of

support.

than any other kind of brush

and have a tense but flexible hair which holds an excellent

Veduta.

the reflection of other colors.

Topographers. English

the eastern religious

Sable hair. Sable hair brushes

Meaning "view", was

generally influenced by

cardboard to

movement

painting in watercolors.

paper, either

painting technique, certain

of animal

is

is

still

wet. This

technique promotes the

running of the water and colors, with a resultant

it.

diffusion of forms

The

and

According to them,

contours.

watercolor paintings should

watercolor painter Turner

have a matte

utilized this technique.

finish.

English

191

BOSTON PUBLIC LIBRARY

3 9999 00426 039 2

Salei--

he Library

Jos6 M. Parramons talents as an artist have been recognized since he won the Youth Prize of Barcelona at the age of eighteen. Since 1967 he has been teaching in the famous Escuela Masana, one of the most important art schools

He

is

in

Spain.

the author of 27 books on drawing

which have been translated from the Spanish into eight languages:

and

painting,

English, French,

German,

Italian,

Dutch,

Danish, Portuguese, and Japanese.

In

Instituto

Parramdn

Ediciones, S.A., a publishing

company

1974 he founded the

which has won a prominent place and South America. Above all, he artist;

some

colors can

progress

in is

Spain an

of his fine painterly water-

be seen as works-in-

in this

book.

WATSON-GUPTILL PUBLICATIONS

tJL, jSfV*

*

»"

Im* L

CONTENTS D The Painter's Studio D Materials and Tools Drawing and Perspective D Gouache D Color Theory and Practice Watercolor Techniques and Composition D Painting Different Subjects Step-by-step Demonstrations and Exercises D Glossary of Terms History of Watercolor Painting

Write for free catalog

:\

WATSON-GUPTILL PUBLICATIONS.

1515 Broadway.

New

York.

NY 10036

ISBN 0-8230-0496-1

The Big Book of Watercolor Painting

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